VINCE GUARALDI | "JAZZ IMPRESSIONS OF BLACK ORPHEUS"

Craft Recordings proudly celebrates the 60th anniversary of Vince Guaraldi’s breakthrough album, Jazz Impressions of Black Orpheus, with a variety of reissues. A deluxe, expanded edition of the 1962 album—featuring the GRAMMY® Award-winning instrumental hit “Cast Your Fate to the Wind”—offers 16 bonus tracks, including 12 previously unreleased selections, with outtakes and alternate takes of nearly every track on the album.

Available to pre-order beginning today, this definitive edition will be released as a 3-LP, 2-CD, or 24-track digital collection, with newly remastered audio by engineer Paul Blakemore. Produced by Nick Phillips, the original album is cut from the original master, while the bonus material was transferred from the original analog tapes by Plangent Processes. Lacquers for the 3-LP edition were cut by Kevin Gray at Cohearent Audio and pressed at RTI on 180-gram vinyl. Both physical formats also include new, in-depth liner notes by jazz writer Andrew Gilbert (San Francisco Chronicle, San Jose Mercury News, KQED Arts). The digital offering comes in standard and Hi-Res options. The CD and digital formats will be released on November 18th with the LP set due to follow on February 24th.

Additionally, Craft will offer a limited and numbered pressing of the original, eight-track album as part of their acclaimed Small Batch series, which offers discerning listeners the highest-quality, authentic sound—distilled to its purest form. As with previous Small Batch pressings, Jazz Impressions of Black Orpheus was cut from its original analog tapes by legendary engineer Bernie Grundman and pressed on 180-gram vinyl at RTI using Neotech’s VR900 compound and a one-step lacquer process—as opposed to the standard three-step process—allowing for the utmost level of musical detail, clarity, and dynamics while reducing the amount of surface noise on the record. The limited nature of these pressings guarantees that each record is a true representation of the original lacquer and is as close as the listener can get to the original recording. Craft’s all-analog, one-step series has drawn praise from critics far and wide, with Hi-Fi Choice describing the audio quality as “Extraordinary,” while Stereophile commented that the series is “beautifully done,” and Record Collector described the sound as “flawless.” Set for release on February 24th, 2023, and also available for pre-order today exclusively via CraftRecordings.com, each Small Batch pressing (limited to 3,000 copies) will be individually numbered and encased in a foil-stamped, linen-wrapped slipcase featuring an acrylic inset of the original artwork. The vinyl disc—extractable through a unique, frictionless ribbon pull-tab—is housed in a reproduction of the album’s original, tip-on jacket and protected by an archival-quality, anti-static, non-scratching inner sleeve. Rounding out the package are new liner notes by Derrick Bang, the foremost Guaraldi historian and author of Vince Guaraldi at the Piano (McFarland & Company). 

Long before Vince Guaraldi’s name was synonymous with the beloved PEANUTS® animated specials, he was a rising star in the West Coast jazz scene. The San Francisco-born pianist began his career in the early ’50s, playing alongside the Latin-influenced vibraphonist, Cal Tjader. By 1954, Guaraldi established his own trio and, within a year, his first recordings as a bandleader were released by Fantasy Records as part of their multi-artist collection, Modern Music from San Francisco. Shortly thereafter, the Bay Area label signed Guaraldi to an exclusive deal, releasing his self-titled debut album in 1956, followed by A Flower Is a Lovesome Thing in 1957. But it was the pianist’s third album, Jazz Impressions of Black Orpheus, that found him settling into his own as a leader and establishing his signature style. The 1962 LP would also serve as his commercial and creative breakthrough, opening new avenues that even Guaraldi couldn’t have imagined.

The album’s origins began several years earlier, with the release of the 1959 film, Orfeu Negro (Black Orpheus). Based on Orfeu da Conceição, a 1956 Brazilian stage production by Vinicius de Moraes, the Marcel Camus-directed film reimagined the Greek myth of Orpheus and Eurydice, placing it instead in Rio De Janeiro, amid the annual Carnival celebrations. Rising Brazilian composer Antônio Carlos Jobim was tasked with scoring the film, alongside Moraes, while guitarist Luiz Bonfá also penned two selections (“Samba de Orfeu” and “Manhã de Carnaval”). Orfeu Negro not only won the Palme d’Or at the 1959 Cannes Film Festival and an Academy Award® for Best Foreign Language Film, but it also introduced much of the world to the music of Brazil—particularly the captivating sounds of bossa nova. The musicians behind the soundtrack, meanwhile, became international sensations.

Guaraldi—who was no stranger to Latin rhythms, given his tenure with Tjader—was immediately taken with the score and conceived of a concept album based on the film. The pianist began recording in November 1961 at San Francisco’s KQED studio with his new trio, featuring bassist Monty Budwig and drummer Colin Bailey. During these initial sessions, the three musicians recorded several standards for the album, including the Buddy Johnson-penned blues ballad, “Since I Fell for You,” and Henry Mancini’s soon-to-be-classic, “Moon River,” which had just debuted in the Audrey Hepburn film, Breakfast at Tiffany’s. As the long-shelved session tapes revealed, the trio also recorded Fats Waller’s “Jitterbug Waltz” at this time. While the song was not part of the original album, three never-before-heard, high-energy takes are included as bonus tracks in this latest edition of Jazz Impressions of Black Orpheus.

The trio returned to the studio in February 1962, where they tackled two new compositions by Guaraldi: “Cast Your Fate to the Wind” and “Alma-Ville”—both of which offered hallmarks of the pianist’s musical panache. AllMusic notes, “For the first time a recognizable Guaraldi piano style emerges, with whimsical phrasing all his own, a madly swinging right hand and occasional boogie-influenced left hand, and a distinctive, throat-catching, melodic improvisational gift.”

The February date, which took place over a mere four hours, also found the trio interpreting four selections from the Black Samba soundtrack: Jobim’s “O Nosso Amor” and “Felicidade” (mistitled as “Generique” on the original LP release), as well as Bonfá’s “Manhã de Carnaval” and “Samba de Orfeu.” In his liner notes, Gilbert praises, “Guaraldi, Budwig, and Bailey interpreted the Black Orpheus material with impressive care and feeling,” adding that the rhythm section’s work “stands the test of time, effectively articulating a North American impression of the bossa nova pulse.” The alternate takes further showcase the musicians’ talents—as well as their ease with the genre. An unreleased version of “O Nosso Amor,” for instance, “features a Guaraldi solo that embodies everything that made him such a charismatic presence at the keyboard, with his bright touch and irresistible bounce,” marvels Gilbert.

Guaraldi would continue to delve deeper into the sounds of Brazil and famously paired up with guitarist Bola Sete later in the decade. But it was Jazz Impressions of Black Orpheus that changed the course of the pianist’s career. “Jazz Impressions of Black Orpheus was a landmark achievement that introduced a trio with a singularly alluring sound,” writes Gilbert. “The combination of burnished lyricism, rhythmic subtly, and exquisite dynamic calibration set it apart, but the group’s impact flowed equally from its repertoire.” Recorded months—if not years—before other American jazz artists embraced the popular sounds of Brazil, the album also placed Guaraldi at the forefront of the bossa nova movement.

Released in April 1962, Jazz Impressions of Black Orpheus made Guaraldi a household name—thanks, in large part, to the irresistible sounds of “Cast Your Fate to the Wind.” Released as the B-side to “Samba de Orpheus,” the instrumental track was embraced by DJs across the country, eventually landing at No.22 on the Billboard Hot 100 and No.9 on the Easy Listening chart. In 1963, “Cast Your Fate to the Wind” earned Guaraldi a GRAMMY for Best Original Jazz Composition. Over the years, the track would be covered by a range of artists, including Quincy Jones, George Benson, Allen Toussaint, the James Gang, and Mel Tormé (who added lyrics).

Perhaps most famously, however, the tune caught the ear of television producer Lee Mendelson, who was searching for a musician to score a documentary about PEANUTS® creator, Charles M. Schulz, and his popular comic strip. While the film was never released, Guaraldi recorded the soundtrack to A Charlie Brown Christmas the following year—creating one of the best-selling jazz and holiday albums of all time in the process. Before his sudden death in 1976, Guaraldi would score more than a dozen PEANUTS animated specials. Yet, the pianist’s musical legacy extends far beyond those enduring soundtracks, and Jazz Impressions of Black Orpheus is a prime example of that.

Sam Taylor | "Let Go"

Straight-ahead jazz saxophonist Sam Taylor’s defiant act of giving. His “Let Go” album, featuring trumpeter Terell Stafford, drops October 21.

One bright morning last January, saxophonist Sam Taylor started his day by writing down his intentions. It was an important day, the day that he would lead a quintet featuring trumpeter Terell Stafford in the same historic recording studio where John Coltrane, Sonny Rollins, Freddie Hubbard and Stanley Turrentine recorded, to track his third album for Cellar Live. Locking in his focus, Taylor’s message to himself was to be grateful, mindful and fully present for the recording experience, and most importantly, to give and let go. The resultant ten-track swinging jazz set “Let Go,” produced by Taylor and Cory Weeds, drops October 21 on CD and October 28 digitally.

Taylor’s set list consists of selections from the Great American Songbook, including songs written by Barry Harris, Hank Jones, Benny Golson, and Jule Styne. However, one can argue that the centerpiece is Taylor’s own composition. The Harlem-based artist wrote the title track, marking the first time he ever recorded one of his own songs. “Let Go” embodies Taylor’s ethos as a musician.

“It was written during a year full of the unexpected, with invaluable new experiences and lessons. More than that was the validation of a virtue I have long held true in my heart as I live this life of music: music is an act of giving. Living a life of music is also a journey of generosity and letting go. The musician surrenders to the music, interprets the song and shares that with others. To surrender, to be tender and giving is a show of strength, an act of defiance. This is an empowering idea. Our world faces such heartache, fear and profound grief. How do we meet that every day as individuals and as a society? Tenderness and loving kindness could be the most powerful tools we have. In my own way, this recording is an act of defiance,” said Taylor.

Recorded at Van Gelder Studios, Taylor and Stafford are flanked on the album by a trio comprised of pianist Jeb Patton, bassist Neal Miner and drummer Willie Jones III. Taylor grew up in Philadelphia listening to Stafford, a renown and respected talent who teaches in the City of Brotherly Love at Temple University. 

“Terell Stafford is an international jazz star, a fixture on the Philadelphia jazz scene and one of the city’s artistic leaders. To have the opportunity to know him and play with him now as a professional musician is truly special. I remember attending a workshop while I was a young student at The Performing Arts High School in Philadelphia. We took a bus up Broad Street to Temple University where students across the city sat and listened to Terell’s group play and speak about jazz. I remember his emphasis on rhythm, the triplet, how to feel the beat. He was giving and patient. I can honestly say he is just as genuine and giving now. It is an overwhelming honor to play this music with him,” said Taylor, who will perform at Rite of Swing Jazz Café at Temple University on November 10.

Released as a single last week, the album opens with the bebop anthem “Luminescence,” which was penned by Harris, a seminal figure on the New York City jazz scene who passed away a few weeks prior to the “Let Go” recording date.

Taylor first discovered the melancholy “Angel Face” from a 1940s recording by tenor saxman Coleman Hawkins but decided to record his own version after falling in love with a take he heard featuring one of his favorite singers, Abbey Lincoln. 

“The melody is gorgeous, operatic in style and goes straight to the heart. Ms. Lincoln’s interpretation, including her own lyric, is perfection. She is a constant source of inspiration for me. Her honesty and fearlessness are undeniable,” said Taylor.

In choosing to interpret Golson’s  “Out of the Past,” Taylor pays homage to his hometown.

“The song has the classic Golson sound: lyrical melody, beautiful lead (sax) voice paired with the blues and deep swing. Benny Golson is a Philadelphian like me. As with my previous record, ‘Along The Way,’ it was important for me to honor and embrace my hometown while embracing my experience of over fifteen years living a life of music in New York,” said Taylor who will be running his first marathon in Philadelphia in November.

One of the more impromptu and magical moments that occurred during the “Let Go” recording date came at the end of the session. As the musicians were packing up their gear, Taylor asked the engineer to keep the tape rolling. With just his tenor horn and sparse accompaniment from Miner and Jones, Taylor emoted an impassioned “Prisoner of Love” with the woman he calls the love of his life sitting beside him.

“I first heard this old American Songbook standard on the ‘Coleman Hawkins Encounters Ben Webster’ two tenor record. It was one of the first records I really tried to understand. I would constantly play along with it without any real understanding of harmony or what I was doing. It just moved me, and I wanted to be a part of it somehow. This song has now taken on new meaning for me as I dedicate it to Maia. Recording it was a moment I’ll never forget, filled with such joy and love,” said Taylor.

Taylor underscores the Philly and New York City theme on “Philly New York Junction.” He grew up listening to trumpeters John Swana and Joe Magnarelli playing it, regularly seeing Swana perform in Philadelphia jazz clubs.

“Swana’s playing, along with that of Larry McKenna, Bootsie Barnes and Sid Simmons really informed and inspired my choice to live a life of music. They showed me - and continue to do so - that being a musician is to be part of a community. The music is bigger than you, and living it means honoring those that came before, that lived and transitioned in its name,” said Taylor.

The album concludes with a pair of unlikely tunes. Taken from the musical “Annie,” “You’re Never Fully Dressed Without A Smile” is an earnest attempt to do something Taylor’s “all-time hero” had a flair for doing.

“It became my theme song over the year, one that I would always play in a tenor trio format - saxophone, bass and drums - on my weekly gigs in New York City. This is my favorite format if I’m honest, thanks to my love of Sonny Rollins. The song always makes people smile and tap their feet. Recording it is also a subtle way to honor Rollins, who is known as an indisputable musical genius who often picks the most unlikely of tunes and makes them incredibly hip and swinging. I hope we achieved that with this one,” said Taylor.

Closing the set is “Bye Bye Baby,” which Marilyn Monroe sang in “Gentleman Prefer Blondes.” Taylor’s rendition was influenced by a version he heard played at dazzling speed by pianist Harold Mabern.

Taylor studied and was mentored at Purchase College, State University of New York. Among his noteworthy performances was playing with saxophone greats James Moody, Jimmy Heath, Frank Wess, Joe Lovano, Steve Wilson, Mark Turner and Ralph Lalama. He released his critically lauded solo debut, “My Future Just Passed,” in 2015 followed two years later by “Along the Way,” which was the first time he teamed up with Patton and Miner. Twice Taylor has toured in Canada, and he’ll be supporting “Let Go” at concert dates there next month around the album release date. Closer to home, Taylor serves as artistic director for the West Harlem Jazz Festival.  

In the “Let Go” liner notes, Taylor writes about music giving voice to an experience, both personal and collective. He believes music is an expression of love and respect, inspiring hope and a reason to overcome challenges and triumphs. Understanding the role music can and does play is why before stepping foot inside the recording studio earlier this year, Taylor put pen to paper to state his intentions.       

“I invited my musical heroes to come together, to bring their powerful voices into a space, surrender and let go. Terell, Jeb, Neal and Willie were masterful. The space, a studio that echoes with jazz history, made the day that much more meaningful. I haven’t the words to express my gratitude. My hope is the music communicates that clearly and fully.”

SeaJun Kwon | "Micro-Nap"

Korean-born, New York-based composer / bassist SeaJun Kwon vividly explores moments of change on his breathtaking second album Micro-Nap, due out October 21, 2022 via Endectomorph Music, reassembles the Walking Cliché Sextet, an ironically named group of original voices. 

A micro-nap is a way to quickly recharge one’s batteries without slipping into a deeper state of slumber. It’s a restful moment somewhere in between waking and sleeping, consciousness and unconsciousness. Korean-born, New York-based composer and bassist SeaJun Kwon delights in such liminal spaces. On Micro-Nap, the second album by his exploratory Walking Cliché Sextet, Kwon and his deeply attuned ensemble navigate constantly changing compositions through a series of elusive, transient moments.

“A micro-nap,” Kwon explains, “is an example of non-linear and broken moments. Usually, these extremely short non-linear moments are dense, noisy, and full of energy… I wanted to expose the liminal space of each micro-ordered moment layered with others, and head towards macro-chaotic surprises. This album reflects my emotional frustrations, non-linearity, the transience of feelings, and the emptiness of noise – as well as my attraction to them.”

Due out October 21, 2022 via saxophonist Kevin Sun’s Endectomorph Music label, Micro Nap investigates these notions of miniscule changes to reflect the far more monumental transitions that have characterized Kwon’s life and career over the past decade. In a way, it serves as a farewell to his time in Boston, where he moved in 2016 to study at New England Conservatory. The Walking Cliché Sextet is made up of the bassist’s NEC classmates:  pianist Erez Dessel, drummer Charles Weller, alto saxophonist Aaron Dutton, tenor saxophonist Jacob Shulman, and trombonist and tuba player Michael Prentky all return from the band’s 2021 debut, Suite Chase Reflex. This time out the piano and drum chairs are shared with Jacob Hiser and Avery Logan respectively, one concrete instance of evolution over time.

The band itself, with its three-horn frontline, is another practical example. Kwon favors the sextet format, he says, because it exists on the boundary between a flexible small group and the intricate arrangements of a big band. “It’s kind of in the middle. In a quartet or a smaller format, we have a lot of freedom and the music can be more abstract. The sextet is still in the small ensemble zone, but it allows for a lot of orchestral options. You might need some arrangements to clean up the sound—or maybe not clean it up, intentionally. It’s fun in that way.”

Kwon is now based in New York City, while his compatriots in the sextet have scattered to various new locales, promising more changes to come either within the sextet or with new projects stemming from Kwon’s new environs. But the bassist’s presence in the States – and on the jazz scene – was a seismic shift that happened fairly rapidly. He first played an upright bass just eight months before enrolling at NEC. Prior to that Kwon had been living in Seoul, South Korea, studying computer science and machine learning and occasionally tinkering with an electric bass, but not actively pursuing a life in music.

That all changed when he took his first acoustic bass lesson, almost on a whim. “I really liked listening to jazz, so I took a lesson. It wasn’t very serious. It became a little serious when I realized that I really liked learning it. I had no formal music education before that. From that point on I had to learn everything very fast. It was like every moment was a moment of change.”

That sensation is captured on “Transient,” the closing track on Micro-Nap and the first piece written for the new album. A professed adherent of avant-grade jazz and contemporary classical composers such as Anthony Braxton, Henry Threadgill, and György Ligeti, Kwon points out that “Transient” may be a more traditional piece than most – it has an almost ballad-like grace as opposed to the pointillist and abstract nature of much of the rest of the album – but there is a steadily accumulating tension that never settles into one place or feeling for too long.

The album is disconcerting from the first, with entrancing piano accompanied by unplaceable stomps and creaking noises on Dessel’s “Muad’Dib.” Prentky contributed the drone-oriented second piece, “Commune,” which explodes halfway through into strident unison horn lines punctuated by machine gun rhythms. The rest of the compositions are the bandleader’s own, from the jagged, angular title track to the chaotic “Anamorphosis No.1,” the meditative “Rumination” to the burly “Trio, Interlude,” no less raucous for the absence of the horn section.

While Kwon is processing a number of very serious ideas through this music, he chose the title Micro-Nap in keeping with the tongue-in-cheek name of the Walking Cliché Sextet. The inspiration for the sobriquet came from the 2002 Spike Jonze film Adaptation., in which Nicolas Cage’s character describes himself with the term during an opening monologue. "He's ruminating in a loop of clichés," Kwon describes. "And it was funny—I was emotionally attached to it while also feeling like he’s being too serious about small things when he calls himself a walking cliché. I think ‘walking cliché’ implies both that seriousness and the comedic aspect at the same time."

Humor and drama, stasis and change, waking and sleep, home and away; Kwon and his music thrive at the juncture of these contradictory states. While he may be constantly on the move, there’s nothing cliché about the music that results.

SeaJun Kwon is a composer and bassist who focuses on exploring boundaries. His music draws from the jazz and avant-garde music traditions of Anthony Braxton and Henry Threadgill as well as contemporary classical composers György Ligeti, Tristan Murail, and Morton Feldman. Born and raised in Seoul, South Korea, Kwon graduated from Boston’s New England Conservatory and is currently based in Brooklyn. He has been leading his group Walking Cliché Sextet since 2019. The ensemble released its debut album, Suite Chase Reflex, in 2021. 

FIRST-EVER OFFICIAL CHRISTMAS ALBUM FROM THE LEGENDARY LOUIS ARMSTRONG, "LOUIS WISHES YOU A COOL YULE"

Much like Santa Claus himself, Louis "Satchmo" Armstrong devoted his life to "the cause of happiness," as he once put it, bringing joy to audiences around the globe every time he put his trumpet to his lips or crooned with his instantly-recognizable, gravelly voice. Yet, while Satchmo's holiday recordings have become standard yuletide fare, he never released a Christmas album during his lifetime. Now, for the very first time, Louis Wishes You A Cool Yule – out October 28 via Verve Records/UMe, presents Armstrong's holiday recordings as a cohesive body of work, marking his first-ever official Christmas album.

For the very first time, "Louis Wishes You A Cool Yule" – out October 28 via Verve Records/UMe, presents Louis Armstrong’s holiday recordings as a cohesive body of work, marking his first-ever official Christmas album.

Since his passing in 1971, Armstrong has become one of the most oft-played artists during the holiday season, his golden trumpet tone still able to cut through the din of even the most bustling shopping mall. Available for pre-order today, Louis Wishes You A Cool Yule features nearly the entirety of Armstrong's holiday output: six Decca singles from the '50s, including "Cool Yule," "Christmas Night in Harlem," and the swinging "'Zat You Santa Claus?." The 11-track album also features duets with two of Pops' favorite vocal partners, Velma Middleton ("Baby, It's Cold Outside") and Ella Fitzgerald ("I've Got My Love to Keep Me Warm"). An official video for the Louis and Ella classic debuts today, hand-drawn by director and animator JonJon in his distinctive "line and shape" style.

Watch "I've Got My Love To Keep Me Warm": https://louisarmstrong.lnk.to/GotMyLovetoKeepMeWarm

Rounding out the collection is the artist's signature hit, "What a Wonderful World," which has become something of a yearlong hymn of hope and celebrates its 65th anniversary this year, plus a very special gift to fans: a previously unreleased reading of Samuel Clement Moore's poem "A Visit from St. Nicholas," popularly known as "The Night Before Christmas." Paired with a groovy, newly-recorded musical underbed by New Orleans pianist Sullivan Fortner, the poignant recording marks the first new Louis Armstrong track in more than 20 years and is notable for being the last recording he ever made.

Louis Wishes You A Cool Yule will be available in a variety of formats, including on red vinyl, a limited edition vinyl picture disc (releasing November 4th), CD, and digital. The album will feature new liner notes from GRAMMY®-Award winning writer, Ricky Riccardi, author of two Armstrong biographies ("Heart Full of Rhythm" and "What a Wonderful World") and Director of Research Collections for the Louis Armstrong House Museum. Additionally, all 11 tracks have been mixed in immersive Dolby Atmos and hi-res audio.

Since his passing in 1971, Louis Armstrong's legacy as one of the most beloved and influential jazz artists of all time has only continued to grow, while his enduring catalog of recordings remains timeless. Born in New Orleans, Armstrong (1901-1971) began his career in the '20s, bringing his Dixieland background to Chicago, New York City, and Los Angeles. By the time he became an internationally-renowned star in the '40s, the hardworking singer, bandleader, actor, and trumpet player was spending nearly 300 days on tour every year. One constant throughout these shows, however, was the spirit of Christmas.

As a child, Riccardi writes, Armstrong "did not have much time for Christmas… life necessitated that he drop out of school and go to work while still a young boy to help support his mother and sister." After his marriage to Lucille Wilson, however, the holidays took on a new meaning—particularly when the couple was on the road. Riccardi continues, "With the holidays approaching, Lucille bought a small Christmas tree and set it up in their hotel room. According to Lucille, Louis 'just looked at it and looked at it and told me, 'This is the first tree I've ever had.' Louis refused to let Lucille take it down and insisted they take it with them on the rest of the tour. The Armstrongs would continue this tradition, Lucille later remarking that they continued setting up 'a table tree and holiday fixings in whatever hotel in whatever country we happen to be in.'"

Perhaps, it is that love of Christmas that accounts for Armstrong's somewhat mysterious reading of "A Visit from St. Nicholas." Captured months before his death, on February 26, 1971, the recording was made by the ailing artist, alone on his home reel-to-reel tape recorder. Whether Satchmo was giving fans one final present, or simply finding comfort in his favorite holiday, it is certain that the recording, and this album, will deliver plenty of Christmas magic.

Louis Wishes You a Cool Yule Track Listing

(1CD/Digital)

• Cool Yule 
• Winter Wonderland 
• I've Got My Love To Keep Me Warm (w/ Ella Fitzgerald) 
• 'Zat You Santa Claus? 
• Christmas In New Orleans 
• White Christmas 
• Christmas Night In Harlem 
• Baby, It's Cold Outside (w/ Velma Middleton) 
• Moments To Remember 
• What A Wonderful World 
• Reading of "A Visit from St. Nicholas" with Sullivan Fortner, piano accompaniment 
• Louis Wishes You a Cool Yule Track List

(Vinyl)

SIDE A

• Cool Yule 
• Winter Wonderland 
• I've Got My Love To Keep Me Warm (w/Ella Fitzgerald) 
• 'Zat You Santa Claus? 
• Christmas In New Orleans 
• White Christmas 

SIDE B

• Christmas Night In Harlem 
• Baby, It's Cold Outside (w/ Velma Middleton) 
• Moments To Remember 
• What A Wonderful World 
• Reading of "A Visit from St. Nicholas" with Sullivan Fortner, piano accompaniment

Natsuki Tamura | "Iyaho"

On Iyaho, Natsuki Tamura’s Bandcamp album, the trumpeter-composer returns to the unaccompanied solo format for the sixth time in his career. This time, however, he adds a few new twists, focusing on his enigmatic vocalizing and recent interest in home-made percussion as well as his lyrical trumpet playing. Recording at his home studio, Tamura also overdubs voice, percussion, and trumpet into performances that are truly beyond category. “I never think about whether it is jazz or not,” Tamura says. “I just express the music that comes out of me.”

“Voice has always been an adjunct to my work,” Tamura says. “So this time I decided to put the spotlight on the voice.” Like everything else about Tamura’s music, his vocals are utterly unique. He sings or chants nonsense syllables that resemble an unknown language. Sounding like ceremonial chants or folksongs at times, they are mysterious, sometimes whimsical and comic, and oddly moving. “Nonsense words come out very naturally to me,” Tamura says, “It's easier than meaningful words!”

Tamura’s cryptic singing, juxtaposed with his jazz-inflected trumpet and his kitchen-implement percussion, transform a surreal combination of influences and sounds into an arresting sonic world. On “Sagahogenaga” Tamura intones the name of the title as if it were a religious incantation. The percussion that accompanies it adds an enigmatic dimension. His percussion arsenal, consisting of woks, pots and other cooking implements, create unfamiliar tones and timbres. Tamura isn’t a trained drummer, so he plays percussion with a talented amateur’s enthusiasm. The raw technique and unusual sounds resemble a kind of folk music from another world. On top of it all he adds the hushed beauty of his trumpet, playing simple melodies that straddle jazz and folk music. The results are enchanting, even charming, although a bit strange. “Mesahoji” is less ritualistic, more as if you are listening to an elder storyteller narrate an ancient legend. The vocals on “Karakara” resemble bird song and evokes the natural world.

One track each of solo percussion and solo trumpet round out the album. On “August Wok,” the kitchen-items percussion lend a dadaist touch to Tamura’s sly musical imagination. Stately phrases unfold, combine, and evolve in an organic progression, colored by the odd sonorities of the household appliances. “August Tp” features Tamura’s muted trumpet, and although it’s entirely instrumental, you can hear echoes of the human voice in grumbling low notes that resemble Tamura’s own singing.

Tamura will continue his ambitious plan to release a new album on Bandcamp every other month for the remainder of the year:

• Coming in October is a new composition for five trumpets. A first for Tamura, the unique group will record the new music live in the studio. Tamura has enlisted Ali Morimoto, Masafumi Ezaki, Nobuki Yamamoto, and Rabito Arimoto, fellow trumpeters from Kobe and Osaka, each of whom is a strong creative force in his respective city’s creative music scene.

• Tamura’s busy year concludes in December with another live studio recording, a duet with drummer Ittetsu Takemura. An exciting, versatile musician, Takemura is one of the most in-demand drummers in Japan. He is a member of pianist Satoko Fujii’s Tokyo Trio and appears on their debut CD, Moon on the Lake. “I'm going to arrange a song that I played at the FONT(Festival of New Trumpet) 20 years ago,” he says of his plans for the album.

Japanese trumpeter and composer Natsuki Tamura is internationally recognized for a unique musical vocabulary that blends jazz lyricism with extended techniques. In 1997, he and Satoko Fujii, who is also his wife, released their first duo album, How Many? (Leo Lab). They have recorded eight CDs together, including 2021’s Keshin (Libra). Tamura’s collaborations with Fujii reveal an intense musical empathy and have garnered wide popular and critical acclaim. Kurt Gottschalk writes in the New York City Jazz Record that their rapport “feels like a secret language … It’s rare to sense this level of intuition between musicians.”

2003 was a breakout year for Tamura as a bandleader, with the release of Hada Hada (Libra), featuring his free jazz-avant rock quartet with Fujii on synthesizer. In 2005, he made a 180-degree turn with the debut of his all acoustic Gato Libre quartet, focusing on the intersection of European folk music and sound abstraction. Now a trio, their previous CD is Koneko (Libra), released in 2020. Writing in the New York City Jazz Record, Tyran Grillo said, “By turns mysterious and whimsical.”

In 1998, Tamura released the first of his unaccompanied trumpet albums, A Song for Jyaki (Leo Lab). He followed it up in 2003 with KoKoKoKe (Polystar/NatSat) and in 2021, he celebrated his 70th birthday with Koki Solo (Libra), which Karl Ackermann in All About Jazz described as “quirky fun in an age of uncertainty.” His latest solo album, Summer Tree, was a multilayered, overdubbed release that featured his piano and percussion work in addition to his trumpet.

In addition to appearing in many of Fujii’s ensembles, Tamura also has worked with collaborative groups. Most recently, he joined Fujii and master French composer-improvisers, trumpeter Christian Pruvost and drummer Peter Orins, to form the collective quartet Kaze. With five CDs to their credit since 2011, Kaze “redefines listening to music, redefines genres, redefines playing music,” according to Stef Gjissels of Free Jazz Blog.

Tamura’s category-defying abilities make him “unquestionably one of the most adventurous trumpet players on the scene today,” said Marc Chenard in Coda.

Timo Vollbrecht | "Givers & Takers"

FLY MAGIC is saxophonist-composer, bandleader, and scholar Timo Vollbrecht’s longstanding signature ensemble. A genre-exploding unit with a bold sense of creativity and intent. After two acclaimed records and performances in over 30 countries, their third album, Givers & Takers, marks a new chapter: It conjures acoustic delicateness with otherworldly electronic soundscapes of orchestral width. Recorded in the studio while on a 12-date-tour, it captures the unique chemistry the four musicians developed on the road while using the stage as their laboratory.

Originally from Germany and based out of New York, Timo Vollbrecht is a celebrated creative force on the Brooklyn music scene who fuses jazz with post-rock, electronics, and instrumental songwriting. Described as a “luminously-fine bandleader” by the NYC Jazz Record, he has performed at landmark stages like the Village Vanguard. He is also the new Director of Jazz Studies at Brown University. Together with Keisuke Matsuno (guitar), Elias Stemeseder (piano & synthesizers), and Dayeon Seok (drums), he formed a band with no bassist. Instead, Stemeseder - who just led his residency at John Zorn’s iconic Stone venue - plays synth-bass while his other hand operates other keys.

Thematically, Givers & Takers refers to Timo’s underlying sense of community through music: “Music is first and foremost a social praxis,” he states, “It is about human connection and the lived experience of people feeling together and inspiring one another. These surrounding social aspects traditionally deemed as ‘extra-musical’ are actually not extra-musical at all - they form an essential part of the music’s most inner fabric.” The album emerges from this place of human interactivity. It features four musically synergetic friends of diverse backgrounds entering into an improvisational dialog marked by mutual trust. Giving and Taking is a natural part of this process. The fact that Givers & Takers is also the name of their favorite bar in Brooklyn underpins the importance that Timo and his bandmates assign to the quotidian gathering. “It is emblematic for what it means for us to be part of a scene.”

It follows that Timo’s pieces for this album celebrate the big and small gestures of everyday life. The opener Pau is named after his first-born child and features the band’s tender, improvisational interplay. In contrast, Happy Happy exudes high energy and “is my intent to write a happy tune,” Timo explains, “juxtaposed with destructive elements to make for an epic ending.” Brighton Blues refers to Brighton Beach in Brooklyn. This modern blues highlights the artists' approach to fresh ideas in connection to their tradition-informed identity. Art is Live is a suite that borrows its name from a concert series set up by friends to keep the arts community alive during the pandemic lockdowns. Three movements express the experience amidst an uncertain future during that time: I. Solidarity, II. Solitude, and III. Agency, with the latter being a nod to the roaring Black Lives Matter movement and music as a force for change.

With Givers & Takers, Timo Vollbrecht is presenting his vision of a band that is truly original, avoids easy categorization, and blends acoustic and electronic sounds enveloped in intricate song forms.

SINGLE RELEASES

Sep 23 - “PAU”

"Pau“ is the first single from NYC-based saxophonist Timo Vollbrecht’s newest album “Givers & Takers.“ Named after his first-born child, this deeply personal piece features the tender, improvisational interplay of his band FLY MAGIC. Warm-timbred, melodic, atmospheric, and unpretentious - in this song, sound travels and expands gradually, tapping into the vastness of space.

Oct 07 - “HAPPY HAPPY”

“Happy Happy” showcases the mesmerizing energy of saxophonist Timo Vollbrecht’s quartet FLY MAGIC. With bright harmony and a dazzling pulse, this up-beat tune fuses adventurous jazz with otherworldly soundscapes that eventually take over to make for an epic ending.

Feels Like Home: Songs from the Sonoran Borderlands—Linda Ronstadt’s Musical Odyssey

On September 30th, Putumayo will release Feels Like Home: Songs from the Sonoran Borderlands—Linda Ronstadt’s Musical Odyssey, a musical accompaniment to the acclaimed singer’s new book, Feels Like Home: A Song for the Sonoran Borderlands, published by Heyday Books. The musical collection was co-curated by Ronstadt and Putumayo founder Dan Storper and includes influential songs from her childhood and career, as well as several of her own interpretations of classic Mexican songs. Participating artists include legends and musical explorers Lalo Guerrero, Ry Cooder, Jackson Browne, Dolly Parton, Emmylou Harris, Neil Young, Taj Mahal and David Hidalgo. The CD package will include an album download card and informative booklet with an introduction by Linda. The album will also be available for download and streaming on major platforms.

The featured songs on the musical collection are an excellent companion and illustrate the influences that helped mold Linda Ronstadt into the artist she became. Lalo Guerrero, known as the “father of Chicano Music” would often visit his good friend, Linda’s father, Gilbert, early in Linda’s life, teaching her and her siblings' traditional Mexican songs. Here, in collaboration with Ry Cooder, Guerrero sings “Barrio Viejo,” a poignant song he wrote about the loss of old neighborhoods and ways of life.

For Ronstadt, her home has always been a place of creativity and she is joined by her brothers, Peter and Mike, to sing the lovelorn “El Sueño.” Roots music revivalists Los Cenzontles follow with the Mexican folk song, “Palomas Que Andan Volando” (Pigeons That Are Flying). The ever-musical Ronstadt family continues to shine with “Canadian Moon,” a previously unreleased version by Ronstadt family members known as P.D. Ronstadt & The Co.

The underlying story Ronstadt expresses in her book and this collection is illustrated in several of the featured songs. The Sonoran region was long home to Indigenous people, Mexicans and Southwesterners who lived and worked in close proximity. Several songs demonstrate the importance of cultural openness and acceptance rather than living in fear of our neighbors to the South. “Across the Border” is both a love song and a voyage of escape by Linda Ronstadt with Emmylou Harris. Their rendition of this Bruce Springsteen composition features another legend, Neil Young, on harmonica. Jackson Browne’s “The Dreamer” featuring Los Cenzontles, tells a sobering story of a family divided by the border and unjust immigration laws. Los Cenzontles return with “Naninan Upirin,” sung in the indigenous language P’urhépecha and showcasing the distinct folk music tradition of this ancient people and their culture.

The sweetly melancholic Appalachian folk song “I Never Will Marry,” performed by Linda Ronstadt with Dolly Parton, fits in well with the broken-hearted Mexican ballads that accompany it. After a sweeping tour of the music of Mexico and the borderlands which inspired her, “Piel Canela” sees Linda and her band interpreting another Latin musical style that was ever-present in her childhood home: Cuban mambo. The collection concludes with a final offering from Los Cenzontles, joined by David Hidalgo (of Los Lobos) and folk and blues icon Taj Mahal, who perform “Voy Caminando” about a young migrant’s journey towards his dream.

Feels Like Home: A Song for the Sonoran Borderlands is a fascinating memoir of Linda’s growing up in the culturally rich Sonoran borderlands of the Southwest. Together, the book and this album evoke the magical panorama of the Sonoran desert and offer a personal tour of the memories and music of the region where Linda Ronstadt came of age. The book, written by Ronstadt and Lawrence Downes with photographs by Bill Steen, can be found at fine bookstores everywhere, online and by visiting heydaybooks.com.

The full tracklist for Feels Like Home: Songs from the Sonoran Borderlands—Linda Ronstadt’s Musical Odyssey is:

• Ry Cooder with Lalo Guerrero – Barrio Viejo
• Linda Ronstadt – El Sueño
• Los Cenzontles – Palomas Que Andan Volando
• D. Ronstadt & The Co. – Canadian Moon (New version)
• Linda Ronstadt with Emmylou Harris – Across the Border
• Jackson Browne with Los Cenzontles – The Dreamer
• Los Cenzontles with David Hidalgo – Naninan Upirin
• Linda Ronstadt with Dolly Parton – I Never Will Marry
• Linda Ronstadt – Piel Canela
• Los Cenzontles – Voy Caminando

Richard Smith | "Groove Assets"

Contemporary jazz guitarist Richard Smith continues the legacy of groove. The new single, “Groove Assets,” which goes for playlist adds on October 3, was produced by his former student, hitmaker Adam Hawley.

Whether he’s teaching at USC’s Thornton School of Music or abroad in such diverse locations as Tokyo, Kuala Lumpur, Hong Kong, Manila, London, Oslo, Amsterdam, Helsinki, Palermo, Rome or Bueno Aires, contemporary jazz guitarist Richard Smith gets asked about playing in the groove. So much so that the globetrotter thinks that playing in the pocket may be America’s greatest cultural export musically. Recorded in London, Amsterdam and Los Angeles, Smith’s new single, “Groove Assets,” captures that soulful sound with the aid of one of his former students, multi-time Billboard chart-topping guitarist Adam Hawley, who produced and cowrote the song with his former professor.

"I've found that no matter where I go in the world, I hear American popular music - R&B, hip hop, soul and jazz - coming out of restaurants, bars, cars and classrooms as much or more as the indigenous music. The minute I come back to the States and fire up my Los Angeles band, it hits me: the groove, lock, pocket, and soulfulness that is embedded so deeply in our American music culture. When I teach or give masterclasses abroad, they want to know about what ‘playing in the pocket’ is, as if it is a mysterious, elusive phenomenon. And it IS a cultural phenomenon that comes out of our deep and diverse musical heritage. So, I have developed a lot of classes around that, sort of a how to lock-it-up and groove. I say that one of the best musical ‘assets’ that they can have is groove assets,” said Smith about his inspiration for the single.

“Groove Assets” has a certain laid back, chill quality to the midtempo groove fronted by Smith’s cool electric jazz guitar licks, which are embellished by Hawley’s rhythm guitar harmonies. Bolted to a taut rhythmic pocket crafted by drummer Eric Valentine and bassist Mel Brown, the song’s cowriter Tico Pierhagen adds keyboard melodies. Trumpeter Michael Stever architects the lush horn arrangements that form a proscenium around the R&B groove.

Smith has been traveling internationally since he was seven and for most of the last twenty years, he’s taught and performed each year in Europe. The guitarist has served as a visiting professor of contemporary jazz and popular music at major music conservatories and academies all over the world, which he’s been doing since he was in his twenties. He was one of the youngest tenured professors at USC’s Thornton School of Music where he created the world’s first doctorate program in contemporary guitar. That’s where he first connected with Hawley, whom he calls a “success story.” 

Shortly after the pandemic hit in 2020, Smith was diagnosed with stage four throat cancer. To divert his mind, he reached out to Hawley to help him write and produce a few singles. “Groove Asset” is their third collaboration.

“The first two songs (“Let’s Roll” and “Soul Share”) we did together were hits, and it feels like we are onto another one with 'Groove Assets'. There is no greater pleasure or prouder moment in a jazz professor's life than the act of hiring a former student for the incredibly important job of producing a single. I am a very lucky, proud soul indeed,” beamed Smith, whose cancer is in complete remission.

"We train jazz and rock stars. I am super proud of all our students who have gone on to play with Chick Corea, Herbie Hancock, John Legend, Gwen Stefani, Marc Anthony, Thundercat, Justin Bieber, Michael Bublé, Jason Mraz, Elton John, Madonna, Bono, Maroon 5, Jennifer Lopez, John Mayer, and on hit television programs ‘American Idol’ and ‘Glee’ to name a few." 

Smith was a student at USC when he attended the last masterclass given by Spanish classical guitar great Andre Segovia, which had a lasting impact.

“The Maestro said many profound things, but the one that really stuck with me and guided my life was ‘When you teach, you learn twice.’ That, and the fact that my mother, father, cousins, aunts and uncles were all professors at schools like Oxford, MIT, Oberlin, Tufts, Hong Kong, UCLA, Michigan and Liverpool guided me toward university life as my recording and performing career grew. It has all been something of a mission,” said Smith who plans to perform next summer in England, Holland, Greece and Italy.

“Our (America’s) jazz and popular music are our greatest cultural export, and I am proud to be an ambassador for that.”

Closer to home, Smith will be a featured performer alongside Greg Adams and East Bay Soul at the Catalina Island JazzTrax Festival on October 22.

Surya Botofasina | "Everyone’s Children"

Everyone’s Children is the stunning debut album of spiritual avant-garde music from keyboardist and composer Surya Botofasina, out on Spiritmuse Records. The record combines deep jazz excursions with expansive synth passages and intimate piano turns to create a hypnotic, meditative and devotionally expressive suite that soothes, enriches and uplifts the soul.

Botofasina’s upbringing at the Sai Anantam Ashram in the Southern Californian hills involved daily bhajans (traditional Hindu devotional songs) led by legendary jazz harpist and pianist Alice Coltrane. Her musical and religious teachings continue to have a profound effect on the keyboardist, whose career has since gone on to take in acting stints in the TV series Vinyl and Boardwalk Empire alongside a diverse range of musical collaborations with the likes of Reggie Workman, Joey Bada$$, Gangstarr’s GURU, Amel Larrieux, N’Dea Davenport, Georgia Anne Muldrow, and Miguel Atwood-Ferguson. His work as the Music Director of the Sai Anantam Ashram Singers has seen him tour internationally honouring Swamini Turiyasangitananda Alice Coltrane’s devotional music. “The way I play the piano is not the way my friends play the piano” he says. “It forced me to find the place I truly dwell in - the place between the hip hop and jazz, but based in meditative and long form expressions of my spirit.”

Botofasina’s renown has enabled him to enlist a supremely talented, cross generational group of musicians for the project including major LA mainstays such as multi-instrumentalist and bandleader Carlos Niño –– who also produced the album –– jazz singer Dwight Trible, and indie folk vocalist Mia Doi Todd. Brilliantly gifted guitarist Nate Mercereau, saxophonist Pablo Calogero, and drummer Efa Etoroma Jr., round out the guest collaborators alongside Botofasina’s mother, the harpist Radha Botofasina, a key musical disciple of Alice Coltrane’s during her Ashram years and a hugely formative influence on the keyboardist.

Ten years in consideration, the album’s genesis lay in Botofasina and Niño’s long-running creative partnership. The pair first linked up through Niño’s Build An Ark jazz ensemble, by the recommendation of Atwood-Ferguson, in 2011 and –– after Niño suggested recording a Surya-lead project, the idea began to solidify with a series of collaborative concerts in 2018 (still on-going,) that engendered a deep musical bond. Recorded by Jesse Peterson in 3 joyous sessions last year in Glendale, California, the results are grounded in the ashram music that Botofasina grew up with and present his own unique jazz-influenced take on devotional sounds.

That vision achieves heady form in the shape of album opener "Surya Meditation", an epic twenty-seven-minute duet with Niño built around Botofasina’s assorted keyboard textures. Synths hum hypnotically, softly patter like raindrops or drift by like clouds on a hazy summer’s day. Niño’s subtle percussive accompaniment offers a gentle sense of otherworldliness throughout a contemplative, meditative and stunningly beautiful piece that offers feelings akin to floating gently across water. “I knew when it was happening that it would be the focal point, the opus, the centre of this project” says Niño of the recording.

The solo piano piece "I Love Dew, Sophie" melds jazz and classical keyboard notes in warm-toned clusters before the ecstatic spiritual jazz excursion "Beloved California Temple" opens things out into a group setting. Here, Botofasina’s hypnotic piano motifs and Niño’s expressive percussion are joined by Pablo Calogero’s breathy saxophone lines, before Dwight Trible’s dramatic wordless vocals bring things to a rapturous climax to the accompaniment of Efa Etoroma Jr.’s crashing drum crescendos, with the harmonic brilliance of Nate Mercereau’s guitar synth fortifying the whole.

The title track, "Everyone's Children" follows. Featuring Mia Doi Todd –– whose pregnancy at the time of the recording inspired its name –– the track blends her dreamlike singing with the buzzing swoop and swirl of a synthesizer –– a recognizable throwback to the Sai Anantam Ashram devotional sound –– alongside gentle piano runs. Begun in reflective mode, "Sun Of Keshava"’s synthesizer textures build in warmth towards a denouement of radiant keyboard notes that recall the beauty of a summer sunrise.

The cascading "Waves For Margie" features gentle harp textures and vocals from Radha Botofasina. The album ends with a reprise of it’s centerpiece "Surya Meditation", in a shortened and powerful edit that comes accompanied by the potent spoken reminiscences of Swamini Satsang. It’s return marks the closing of an extraordinary musical circle whose singular blend of improvisatory and devotional music defies easy categorization. The warmly reflective solo synth piece for Meghan Jahnavi* was added with the intention to promote mental health and wellness initiatives. “That is specifically what Dew Sophie's and Meghan's pieces are composed for,” Surya reflects. “Their imperative nature and importance to me cannot be overstated. I, and we, are in a place where uplifting our spirits to wellness is the most crucial part of many aspects of human existence.”

Dedicated to the formative influences in Surya Botofasina’s life; his mother, grandmother and Alice Coltrane, his debut album is imbued with a wide-eyed sense of discovery. He explains: “Each piece feels like an inaugural experience in the most spiritually youthful way. Many musicians have many albums - but there is only one first. The Divine energy of a new life is within every second of the music.”

New Music: Honey & The Bees, Little Beaver, Too Slow To Disco 4, Alina Bzhezhinska Hip Harp Collective

Honey & The Bees - Love

One of the great, lost albums of Philly Soul! And we mean really lost…Real Gone Music had to go to Italy and pay close to 500 euros to snag a copy for artwork. Jean Davis, Gwen Oliver, and Cassandra Wooten were known as The Yum-Yums when they auditioned for Arctic label founder Jimmy Bishop, who re-christened them as Honey and the Bees and added Nadine Felder to the line-up as lead vocalist. After Arctic folded, they moved to the Jubilee imprint Josie, where they recorded this 1970 gem. With a name like Honey and the Bees, it’ll come as no surprise that Love is pure, sweet soul, and it's the Philly Sound through and through, with arrangements by greats like Norman Harris, Ronnie Baker, and Bobby Martin. The medley of Teddy Randazzo tunes culminating in a gorgeous rendition of the Royalettes hit “It’s Gonna Take a Miracle” is the highlight, but the whole record is pure magic, so good that we enlisted Mike Milchner of Sonic Vision to remaster it for vinyl to ensure that every note breathes and sings. First ever LP reissue, pressed in honey colored vinyl limited to 2000 copies.

Little Beaver - Party Down

Willie Hale a.k.a. Little Beaver (so dubbed as a child because of his prominent front teeth) was one of the extraordinarily talented musicians Henry Stone assembled at his Hialeah, FL-based T.K. Records label and its assorted imprints. Among the artists who recorded for Stone were K.C. & the Sunshine Band, Timmy Thomas, Gwen McCrae, Betty Wright, and Benny Latimore…and backing them on a lot of those records was Hale, laying down mellow ‘n’ funky, jazz-influenced licks on his hollow-body Gibson. Hale’s talent was so distinctive that when Stone finally let Hale step out of the studio shadows to record his own album on the Cat imprint, the effects were immediate and long-lasting. Featuring contributions from Thomas, Wright, Latimore, and Jaco Pastorius (under the name Nelson “Jocko” Padron), 1974’s Party Down scored a #2 hit with its title track and has been repeatedly sampled by latter-day rap artists ranging from People Under the Stairs to Jay Z. himself (the “Party Life” track on his American Gangster album). Our Real Gone reissue of this nonstop groove-athon features a fresh remastering by Mike Milchner at SonicVision.

Too Slow To Disco 4 (Various)

A really wonderful entry in this long-running series – one that really digs deep to go way past the obvious – and continued a journey into mellow-stepping music that moves much farther than we ever could have expected! If you know the other volumes, you'll know that the set looks at the more soulful side of the spectrum in the world of AOR – well-crafted cuts that groove along in a mellow sort of way – but which also aren't too commercial or pop-oriented too – work that was often cut with the best talents of the bigger labels, but never got much exposure at the time – which makes the pleasure of discovery here all that much greater. Titles include "Magic Song" by Jeannine Otis & Heikki Sarmanto, "Nothin To It" by Pleasure, "Groovy Times" by Alan Price, "Stay The Night" by Faragher Brothers, "Stay" by Severin Browne, "Generalities" by Marc Jordan, "Music In Me" by Stephen Encinas, "Tell Me The Reasons Why" by Max Leake, "Open Up" by James Felix, "Fall In Love In Outer Space" by Prime Time Band, "Mystery Girl" by The Dukes, "Now That I Need You" by Peter Skellern, and "Altogether Alone" by Hirth Martinez. ~ Dusty Groove

Alina Bzhezhinska Hip Harp Collective - Reflections

When we hear the phrase "hip harp", we think of the magnificent music that Dorothy Ashby cut for Cadet/Concept records at the end of the 60s – and when you hear this set, that's what you'll think of too – and we mean that in the best way possible! The set begins with a great reworking of Ashby's classic "Soul Vibrations – with the jazzy harp of Alina Bzhezhinska in the lead – but as the record moves on, the group really also find their own sound and style – maybe more of a jazz combo than you'd hear on some of Ashby's records – with great work from Tony Kofi on saxes and Jay Phelps on trumpet – both of whom really widen the scope of the sound! Vmala Rowe provides a bit of vocals – and titles include "Soul Vibrations", "Afro Blue", "Paris Sur Le Toit", "Meditation", "Fire", "For Carrol", and "Reflections". ~ Dusty Groove

Basher | "Doubles"

Doubles is the new album by New Orleans-based Basher, led by nationally-recognized composer and saxophonist Byron Asher. While previously recording primarily in the contemporary jazz idiom, this collection expands his sonic palette, incorporating glittering synth textures, driving soulful grooves and expansive, creative improvisation. Defying genre, these songs land somewhere between instrumental pop, art rock, and improvised music with a distinctly New Orleans vibe.

Within their hometown creative music scene, they’ve became blithely known as a “free jazz party band.” While in high school, some buddies gave Asher the nickname Basher against his wishes, it quickly became his primary name. At the time, he felt that the unwanted moniker only contributed to his general unpopularity as an “art nerd” and “smart kid.” The name of this band is a reclamation of that time in his life. And the name came first –– the music heard on this recording is his interpretation of what a band named Basher should probably sound like.

In the band, he is joined by internationally-acclaimed multi-instrumentalist and saxophonist Aurora Nealand (Tim Berne, John Hollenbeck), synthesist and pianist Daniel Meinecke (Quiana Lynell), and a two-drum set Cajun percussion section made up of Lafayette, LA native Brad Webb (Extended) and Lafayette, LA-based Zach Rhea.

The album title Doubles at once references the metaphysical duality of our collective reality and a popular Trinidadian street food. But ultimately, it’s about the doubled instrumentation across the ensemble – 2 saxophones, 2 drum sets and 2 (or more!) synths.

According to Asher, "The artwork for this release is a photograph of two near twins on Mardi Gras Day 1979, taken by NYC-based and internationally renowned street photographer Harvey Stein. For those who have experienced this special day in the Louisiana calendar, the parallel between the music here, especially the jubilant 'Carnival 2019,' and the image of these doubling revelers is clear. For those who have not, perhaps it's time to mark your calendar for the final day before Lent and come visit."

Gilles Peterson & Jean Paul “Bluey” Maunick’s STR4TA Announce Next Album 'STR4TASFEAR'

STR4TA announces next album STR4TASFEAR, out 11th November via Brownswood Recordings. The announcement comes with the release of the first single from the album ‘Turn Me Around’. 

Gilles Peterson and Jean Paul “Bluey” Maunick’s sophomore STR4TA album is a sumptuous mixture of twanging basslines, spacey synth melodies, clicking beats and wispy, ethereal voices that sit perfectly in the brand new music world it’s part of. Inspired by the ground-breaking chapter in the story of homegrown music; Brit-funk; and encapsulating the formative years of both Gilles and Bluey; new album ‘STR4TASFEAR’ will be released on digital, CD & 12” LP formats with special edition white 12” LP.

Gilles says: “STR4TASFEAR is a continuation from our first project, celebrating the ground breaking Brit-Funk era of the late 70s/ early 80s while continuing the story with the rise of the drum machine; paying homage to the Acid Jazz and Electro Soul that followed and the evolution that inspired club culture and new Jazz of recent times. For me it’s a record of parallels, not only in music but a lot of the issues we are experiencing today began in that Brit-Funk era. The parallels in the political landscape of that time and today are poignant and the moment of overall change we are living in is reflected in this record. Bluey is a significant executer of exhibiting the important social questions through music from a Black British perspective and it’s an honour to work with him.”

For this new set, they’ve got a few like-minded souls along to join the party to connect legacy with a new generation of innovators making waves in the music scene. As a core concept of the album, nostalgic reflection meets a pivotal desire to celebrate the present moment, expressed through key features on the record. Namely, multi-talented neo soul Godfather Omar, who in a shock plot twist, was enlisted to lay down his intricate wonky synth basslines on ‘Why Must You Fly’. The legacy family collaborations ensue with celebrated vocalist, Valerie Etienne, on ‘Find Your Bounce’ co-written by Rob Gallagher (Galliano, Talkin’ Loud) emulating Brit funk’s first bounce.

Extending the family, catapulting STR4TA to a cosmic contemporary plane, is free-spirited musical polymath, Emma-Jean Thackray laying down her refreshing, vocals and production acumen on ‘Lazy Days’. Also welcomed into the fold and garnering the admiration of Gilles and Bluey over his illustrious career, is Floridian trumpeter/vocalist Theo Croker, who encapsulates the innovation of future jazz with the soulfulness of a bygone era on ‘Soothsayer’ and ‘To Be As One’. Representing the dynamic US influence from the birth of Brit-funk and the new wave of multifaceted, jazz-trained artists exploring unchartered soundscapes. Plus Brighton duo Anushka, jump on ‘Bad Weather’, whose melting electronica sound gleefully displays its roots from that aforementioned era.

The epicentre of 'STR4TASFEAR’ still remains the ‘meeting of minds’ and treasured friendship between the band’s founders, a solid production duo whose clearly defined roles compliment and inspire each other. Gilles Peterson as executive producer, sonically enriching the production process with his extensive and encyclopaedic knowledge from Brit-funk and Electro-soul of the late 70s/ early 80s to ushering in a new wave of musicians over his considerably lengthy career as a DJ, label owner and broadcaster. With highly acclaimed musician and producer Jean Paul “Bluey” Maunick feeding the creative flow. Alongside the invaluable contribution of Mo Hausler, who was instrumental in adding to the soundscape of the album. The vision is completed by the magic touch of legendary keys/piano player Peter Hinds (Atmosfear, Light of The World, Incognito), appearing throughout the record, and is at the pinnacle of paying homage to the incredible pioneering work of bands such as SunPalace & Freeez, paving the way of UK electro soul for artists like Total Contrast & Stephen Dante (produced by Bluey in the mid 80s). This sound is now being emulated by contemporary producers like Dâm-Funk, Zopelar & SpaceGhost to name a few. 

STR4TA is the new wave jazz funk project pioneered by DJ, broadcaster, producer and record label owner Gilles Peterson and legendary musician and Brit-funk steward Jean-Paul ‘Bluey’ Maunick of Incognito, Freeez and Light of the World. Long-time friends and collaborators, STR4TA sees them mine new musical possibilities inspired by a shared formative era. Their debut album ‘Aspects’ was released in March 2021 to a rapturous reception, and was the first material that Maunick and Peterson have released together in over a decade. With standout tracks ‘We Like It’ achieving over 1 million streams on Spotify, ‘Rhythm In Your Mind’ exceeding 12 weeks on Jazz FM’s playlist, and a remix EP featuring Melé, Dave Lee, Greg Wilson,  Dave Aju & more released at the end of 2021. Heavily supported by BBC 6Music, The Guardian, Wax Poetics, The Vinyl Factory, Crack, CLASH, Télérama (FR), Radio Nova (FR), KCRW (US), Rolling Stones Italy & Japan. STR4TA have performed electrifying live shows at We Out Here (UK), Primavera Sound (Spain) and headline show at The Jazz Cafe, London.

STR4TA’s second studio album 'STR4TASFEAR' is released on digital, CD & 12" LP formats with a special edition white 12" LP on 11th November 2022 via Brownswood Recordings.

Patrick Shiroishi and Mark Kimbrell | "Every Motherfucker Is Your Brother"

Patrick Shiroishi and Mark Kimbrell are Oort Smog, intense prog jazz duo. Oort Smog carries the torch of the saxophone and drums duo tradition, beginning in early formations such as John Coltrane and Rashied Ali and continuing through the years via Anthony Braxton and Andrew Cyrille, Sax Ruins, and Dead Neanderthals. As Oort Smog, Mark Kimbrell and Patrick Shiroishi combine elements of brutal prog (both are members of Upsilon Acrux) and free improvisation on their latest release, a long form composition powerfully titled Every Motherfucker Is Your Brother.

“Oort Smog is a duo to the core. Patrick and I lean on each other, pull each other out of our comfort zones, and push each other forward.,” Kimbrell says. “All of that is essential to our process and the music itself.” Every Motherfucker Is Your Brother is the band’s second offering, continuing the complexities of their first record, a hybrid of tightly arranged changes and free jazz improvisation. Daniel Zaidenstadt returns as engineer to help sculpt the sonics, blending and fully utilizing the space of Human Resources to its fullest potential. “When we first started Oort Smog, I was extremely nervous to play with Mark … he is such a powerhouse and technician of the drums,” reflects Shiroishi. “Primarily my idea of playing with guitar pedals and amp was to be able to compete with Mark’s dynamics. Now, almost a decade in, this band has allowed me to experiment not only with effects, but to try new things, write new things, and reach for new things.”

Written over the course of eighteen months and recorded during the pandemic and the explosion of demonstrations around the deaths of George Floyd and Breonna Taylor, Oort Smog drew from a number of influences to create their own sound, one of urgency, heaviness and hope. “We wanted this second record to include a lot of things but still be a cohesive piece of music, and I truly believe we accomplished that,” Shiroishi says. “The extracts we chose are from two sections of the piece that highlight the fluidity and tightness we’ve been able to build through the past eight years. We named the piece after we finished recording it with Daniel and it is a direct, oppositional response to the racial injustice that infects this country." 

Patrick Shiroishi is a Japanese-American multi-instrumentalist and composer based in Los Angeles who is perhaps best known for his extensive and incredibly intense work with the saxophone. Over the last decade he has established himself as one of the premier improvising musicians in Los Angeles, playing solo and in numerous collaborative projects with Claire Rousay, Angel Deradoorian, Ted Byrnes, Luke Stewart, Fuubutsushi, Jessica Ackerley, and many more. Shiroishi is a foundational player in Los Angeles's vast musical expanse, and has over the past few years made a name for himself globally as one of the most creative and prolific living saxophonists.

Mark Kimbrell is a Los Angeles-based drummer, known for his high-energy propulsive drumming style. After a two-year study of commercial music at Musicians Institute, Mark abandoned the pursuit of the mainstream in favor of more esoteric forms, immersing in the fertile creativia of Los Angeles DIY music. This led to a stint in Upsilon Acrux, alongside fellow drummer Dylan Fujioka and saxophonist Patrick Shiroishi, with whom he formed Oort Smog in 2014. “As long as I’ve been conscious, I’ve known that I was a drummer," Kimbrell says. "Though my extended family is extremely musical, my parents were not. When I got to be a teenager and finally had the opportunity to become a drummer, I realized that I didn’t know shit about music. I didn’t know shit about sound. Nothing. The rest of the story is just relentlessly trying to catch up.”

“Sound Alchemist” Myron McKinley mixes up an audacious jazz and neo soul collection

Keyboardist Myron McKinley has a clear vision for his own creative expression, but perhaps more importantly, he has a clear vision for providing a necessary impetus to shatter the boundaries and stimulate the evolution of jazz. Dropping October 28 on the Dark Elf Music label, the ten-song “Sound Alchemist” is a learned thesis of sonic exploration and experimentation written and produced by McKinley as a mélange of contemporary, straight-ahead and fusion jazz; hip hop, R&B and soul; and multicultural nuance.

While the music industry continues to shift towards singles as singular musical statements, McKinley prefers taking listeners on a complete journey via an album. “Sound Alchemist” does just that. Deftly, he offers enough of the familiar allure, such as recording The Carpenter’s “Close to You,” Sting’s “La Belle Dame San Regrets,” Earth, Wind & Fire’s “Imagination,” and Drake and Jhene Aiko’s “From Time,” but he reinvents each one - sometimes radically - making you forget the source material.

McKinley’s own compositions are just as far-reaching and ambitious, challenging jazz to grow and listeners to open their minds. He offers “Will You” as a tribute to Nat King Cole, who long before he was known for seducing and charming with his elegant and silky voice, he was a remarkably dexterous pianist. Another track on which McKinley performs all the instruments is “Matrix,” a wildly adventurous instrumental rooted in elements that are seemingly polar opposites: bebop and European electronic club music. In the company of guitarist Morris O’Connor and trombonist Reggie Young, the keyboardist stretches out even further on “Crowded Club,” referencing early 1970s funk and jazz fusion hybrids created by The Headhunters and Herbie Hancock. McKinley fuses straight-ahead jazz, hip hop beats and electronic dance music on “Let’s Just See,” the result of which is a vividly ingenious recording. Sensual and somber elements spawn “Remembering You.”

An all-star lineup illumines the centerpiece selection “Tunisian Morning.” Grammy-winning saxophonist Gerald Albright solos amidst fellow saxman Gary Bias, bassist Reggie Hamilton and percussionist Munyungo Jackson.

“I got the chance to play at Nelson Mandela’s birthday party and while we were there celebrating, I heard all these different types of rhythms. I thought it was amazing. So, I kind of took a Bob James approach to the melody but using the rhythm that I heard over there and then had everybody play on it. I was blessed to have all those musicians play on it. They had so much fun doing it. I literally had to stop Munyungo from adding more tracks. He wanted to do more, but he had filled it up so much that you don’t even notice that there’s no drums on the track,” said McKinley.

Visuals are an important aspect to McKinley’s approach for “Sound Alchemist” thus three videos were created with a fourth in the planning stages. On the auspicious date of September 21, McKinley’s tribute to Earth, Wind & Fire drops and his “Imagination” video is quite personal. For the past twenty years, McKinley has toured with the legendary band, serving as their musical director for the last dozen years. The group’s energizing bass player Verdine White plays on the track featuring falsetto singer Danny McClain. The video consists of McKinley’s photos from two decades of touring the globe with EWF.

The “Let’s Just See” video arrives October 5. The clip depicts the real-life story behind the song.

McKinley explains, “I was in New York City, and it is just so loud. I was trying to practice and then kept getting distracted by the noise. Finally, I decided to go hang out at the club and I brought a melodica. I went in there and the DJ was playing. He gave me a mic and I started playing melodica there with him. It turned out really cool. Everybody was enjoying it and I had a lot of fun. The DJ played a bunch of different stuff and we just fooled around, and it became a thing for about a good hour. For the video, I had to write a script and time everything. It was the first I’ve ever done anything like it. I had to write the timeline and tell the animator what is supposed to happen in each cartoon. We had a lot of fun creating that.”

The animated video for “From Time” is slated to hit October 21. What drew McKinley to the song was the lyric “I love me enough for the both of us,” which is sung in dreamlike voice by Denaine Jones.

“I think that statement is going to resonate with any man because that means you’re not going to have to supplement for her what she’s supposed to have already. When I heard the song, I fell in love with what she’s saying. For the video, I was thinking how a lot of people play music and do other things while they’re messaging people. I thought it would be nice to have her texting a guy about how she feels. ‘I love me enough for the both of us.’ You see her sitting up against the wall in New York, texting during the solo and at the end. I thought it was an interesting journey to add a lot of feeling to it,” explained McKinley, who will perform music from “Sound Alchemist” at Denver’s Soiled Dove Underground on October 22.

Los Angeles native McKinley studied classical and jazz piano, including under the tutelage of Grammy-winning trumpeter Wynton Marsalis. But hip hop’s influence in his works is just as prevalent as jazz and classical.

“I grew up in the hip hop era. I was listening to A Tribe Called Quest and Oscar Peterson on the same radio station. I loved all of those. When you come up like that, it’s still a part of you, even though you have classical and jazz. It still becomes a part of your DNA musically. I think ‘Sound Alchemist’ shows a lot of that. You can hear church aspects, classical aspects, jazz aspects and it also shows hip hop aspects.”

In addition to his long-time duties with Earth, Wind & Fire, McKinley has toured with Whitney Houston, Kenny Lattimore, Stanley Clarke, En Vogue and Shai. He has written, cowrote or produced songs for EWF, Clarke, Doc Powell, Silk, Vesta, Cherokee and Howard Hewett. He’s also composed music for film and television scores, contributing to “Soul Food,” “Romeo Must Die,” “The Best Man,” “Think Like A Man,” “Shaft,” and “The Godfather of Harlem” among many others. But jazz is home, so McKinley makes time to perform with his own straight-ahead jazz trio.  

McKinley’s bold spirit and intrepid scope heard throughout “Sound Alchemist” are purposely sprawling, purposely edgy, purposely youthful and vibrant, and purposely inclusive. That’s where he believes jazz needs to go in order to thrive again in relevancy.

“I don’t think musically right now the boundaries are being pushed. I could have easily done (recorded) something else and directed it towards a certain genre and left it there without pushing, but musically, to really make things grow, it takes adventurers to push the genre.”

The Jon Cowherd Trio's Pride and Joy, Featuring Bassist John Patitucci and Drummer Brian Blade

Le Coq Records continues its exploration of the boundless piano trio setting with The Jon Cowherd Trio’s Pride and Joy, an exemplary session featuring three of the most imaginative, sensitive and wide-ranging artists in modern jazz: pianist Cowherd, bassist John Patitucci and drummer Brian Blade. They’re joined on three tracks by saxophonist Chris Potter and percussionist Alex Acuña. 

Pride and Joy follows in the spirit of its critically acclaimed 2021 predecessor, which teamed Patitucci with drummer Vinnie Colaiuta and pianist Bill Cunliffe. In its laudatory review, JazzTimes exclaimed that Vol. 1 “showcases the kind of magic that erupts when the right high-level players come together at the right time for an impromptu romp on the right material.” 

Much the same can be said for this vibrant sequel, though where Cunliffe, Patitucci and Colaiuta were convening as a trio for the first time on that date (despite a long-shared history in various settings and combinations), Pride and Joy reunites a trio with deep roots together. 

Cowherd and Blade have shared a close relationship for more than 25 years, ever since their college days at New Orleans’ Loyola University. The two co-founded the Grammy-nominated Brian Blade and the Fellowship Band, one of the most revered ensembles in contemporary music. It was through Blade that Cowherd met Patitucci, the drummer’s bandmate in the Wayne Shorter Quartet. 

The trio embarked on several tours of Europe and the States around the turn of the millennium, then joined with guitarist Bill Frisell to record Cowherd’s 2013 leader debut for Blue Note Records, Mercy. 

The new album is thus a reunion of old friends in spirited musical conversation. It comes at a time of great change for Cowherd, obliquely referenced in the album title as well as its evocative cover art. Pride and Joy first and foremost refers to the pianist’s two-and-a-half-year-old daughter Sofiane. 

In addition to the expansion of his family, Cowherd has relocated from New York City, where he’s lived and worked for nearly three decades, to Grand Junction, Colorado. The album’s cover is a view of the family’s new backyard and the arid, rocky desert landscape that it looks out upon, a far cry from the cramped, bustling metropolitan landscape of NYC. Poetically, the toy ladder seems to suggest an ascent into the unknown with a touch of childlike wonder and whimsy. 

“It's beautiful here,” Cowherd says, while admitting that the change of environs will take some time to get used to. “We’re in the middle of reddish brown mesas and mountains, and it's just gorgeous. It's a great place to relax.” 

Not that he’s done much of that lately. In recent months Cowherd has logged considerable road miles on tour with guitar great John Scofield’s new band Yankee Go Home as well as with Blade and the Fellowship Band, both of whom have new albums planned for the near future. 

Album opener “Grand Mesa” offers the perfect soundtrack to the vista that Cowherd now calls home. The soaring piece reflects the vast open spaces and alluring horizons, especially with the roiling undercurrent of Acuña’s percussion and Chris Potter’s venturesome tenor playing. The move is also referenced in “The Colorado Experiment,” a more acute-angled composition for the trio. 

The latter bears some influence from the late, great Chick Corea, whose 1968 album Now He Sings, Now He Sobs was an object of intense study for Cowherd during the pandemic. Corea is also the inspiration – along with one of his own primary influences, Thelonious Monk – for Patitucci’s lively composition “Chickmonk,” a salute to Patitucci’s longtime boss in both his Akoustic and Elektric Bands. 

The tender “Little Scorpio” refers to Cowherd’s daughter, also the inspiration for the album’s lyrical title track. “Sofiane is a Scorpio and a fiery redhead,” the pianist explains. “When I wrote that music, I felt there was something kind of childlike and loving about it, so I dedicated it to her.” 

“Honest Man” is another dedication, this one for one of Cowherd’s most formative teachers, Marsalis family patriarch Ellis Marsalis, who passed away in April 2020 of complications from COVID-19. The piece was a commission from the Jazz Coalition, an organization formed by industry professionals, musicians and supporters to provide assistance to artists suffering during the lockdown. 

“Ellis Marsalis was my first jazz teacher,” Cowherd explains. “He was very serious about jazz and the definition of jazz, and he set me straight. He was always a very straight shooter and he gave me a lot of criticism that I needed to hear. So, I wrote this song thinking about his honesty and directness.” 

“Plainfield” shifts the landscape back to the less picturesque east coast, namely the New Jersey hometown of piano icon Bill Evans, whose influence is evident on the introspective tune, which doubles Cowherd’s incisive pianism with Hammond organ atmospherics. The album ends with Cowherd alone at the piano on “Quilt City Blues,” a gospel-inflected piece written for him by Brian Blade. The title refers to Cowherd’s hometown of Paducah, Kentucky, which proudly proclaims itself the “Quilt Capital of the World.” 

Pride and Joy is the latest addition to Le Coq Records’ rapidly growing catalogue of essential jazz releases. Cowherd, Patitucci and Blade have all become integral members of the Le Coq family, contributing as players and/or arrangers to many of the label’s recent offerings. The aptly named Pride and Joy gives the trio a welcome opportunity to step into the spotlight and exemplify both of those emotions.