Don Aliquo | "Growth"

Saxophonist Don Aliquo lives up to the title of Growth—his eighth album, set for a February 17 release on Ear Up Records—with a trial by fire. Armed with his tenor sax and bass clarinet, as well as two venturesome, piano-less quartets, the Nashville area-based artist pushes past his established comfort zone and into more precarious and challenging improvisational territory.

Aliquo’s eight original compositions are equally audacious. They are simultaneously complex and wide open, signaling that the leader is broadening his boundaries not just as an instrumentalist and improviser but as a composer as well. “I wanted to go beyond basic variations on bebop and hard bop and embrace other sounds, including avant-garde,” the reedman explains. “I definitely wanted to write and perform some pieces in a more open context that would stretch me.”

More than a charting of his personal development, Growth doubles as a chronicle of the burgeoning Nashville jazz scene, with songs highlighting the more colorful corners of the aptly nicknamed “Music City.” It’s also apt that Aliquo (a Pittsburgh native) should be joined on this expedition by the cream of the jazz crop in his adopted hometown. His companions include trumpeter Rod McGaha, guitarist Steve Kovalcheck (since transplanted to Denver), bassists Jacob Jezioro and Jonathan Wires, and drummers Marcus Finnie and Danny Gottlieb.

Having taken down the musical guardrails (especially on the tracks without Kovalcheck, which leave only the bass for a harmonic outline) doesn’t mean that Aliquo shies away from the precipice. Whether somersaulting his way across a marathon solo on “Lower Broadway Rundown,” staking out rhythmic freedom on “For the Vulnerable,” or charging through the structural labyrinth of “Salt and Light,” Aliquo takes seriously the proposition of Wayne Shorter (an important influence on Growth) that “Jazz means ‘I dare you.’”

Yet strong melody and groove remain priorities as well. In particular, “Woman Clothed in the Sun” and “Blues for Duffy and Doug” each boast memorable hooks, the former moving in a confident strut and the latter with easy swing. Challenging, adventurous music, Growth reminds us, can still be fun to listen to.

Don Aliquo was born May 10, 1960 in Pittsburgh, Pennsylvania. His father, Don Sr., was (and is) a much-in-demand jazz saxophonist in Pittsburgh and introduced his son to the music at an early age. Don Jr. began his own musical practice on the clarinet in elementary, but his father convinced him that the saxophone would allow him to get more work in jazz. Indeed, he was soon able to get his dad’s work—sitting in on gigs with Don Sr.’s bands.

By the time he had finished high school, however, Don Jr. had carved out a niche for himself in Pittsburgh’s rich jazz tradition, working with the likes of trumpeter Benny Benack as well as jamming with saxophonist Stanley Turrentine. He enrolled in 1978 at Duquesne University, then moved on to Berklee College of Music in Boston (along with Duquesne classmate Jeff “Tain” Watts), but quit Berklee to go on the road with the Tommy Dorsey Band. After leaving the road, Aliquo returned to Duquesne for his undergrad and master’s degrees.

Though he was throughout that time a reliable and esteemed saxophonist on the Pittsburgh scene, working with drummer Roger Humphries, among others, it wasn’t until 1997 that Aliquo recorded his first album, February Regrets, following it up two years later with Power of Two. Shortly thereafter, he left the Iron City, co-founding (with pianist Dana Landry) the Jazz Studies program at Middle Tennessee State University in Murfreesboro, TN. His artistic career, however, soldiered on in his new home. He appeared on Landry’s 2002 recording The Journey Home (also featuring legendary vibraphonist and educator Gary Burton); the pianist returned the favor by performing on Aliquo’s albums Another Reply (2003) and Jazz Folk (2006, featuring bassist Rufus Reid).

The 2010s brought forth the 2010 recording Sun & Shield; 2015’s New Ties and Binds, co-led with trumpeter Clay Jenkins; and 2019’s Live at Hinton Hall (The Innocence of Spring), a duo with pianist Michael Jefry Stevens. The decade also brought opportunities to play and teach in China and Colombia, with a performance in Spain following in 2021. It’s all been part of a remarkable growth cycle for Aliquo, in personal as well as professional terms. “Nashville has come a long way in the past 20 years,” he says, “and in many ways I think I have as well.”

Don Aliquo will be performing a CD release show on Sat. 2/18 at Rudy’s Jazz Room, 809 Gleaves Street, Nashville, with Rod McGaha, tpt; Jacob Jezioro, b; and Chester Thompson, d.

MALIKA ZARRA Debuts New Release "RWA (The Essence)"

Hailed by The New Yorker as “an enchanting pioneer of Maghreb jazz,” and by CNN International for “redefining the term fusion and adding her unique sound to the world,” singer, composer and bandleader Malika Zarra has woven together the complex and varied strands of her musical journey on her third release, RWA (The Essence). Pronounced “Er-WAH,” RWA is a term from the Amazigh (Berber) language meaning “essence.” "It originates in the act of people from a tribe gathering together to help somebody by extracting oil collected from that person’s land,” Zarra explains. “It’s about bringing people together to extract an essence.” Zarra does just that on RWA, released Feb 3rd on her own D. Zel imprint, teaming with a stellar group of musicians, as she puts it, “to pay tribute not only to where I was born, but also to all the people I met in the places where I lived and grew.”

Pristine, richly layered sound and infectious grooves are abundant throughout RWA. From the start, with “Feen,” there is an urgency but also a playfulness in Zarra’s vocal delivery, as she glides over complex and funky beats laid down by band members whose seasoning and broad experience is unmistakable. Even within relatively concise tracks such as “Ouhelt” and “Dreamer,” there is compositional depth and a sense of narrative development. In the rhythmic charge and precision of “La !” or the deftly executed transitions of “Loukt,” we hear Zarra's exceptional range, imagination and focus.

Zarra’s journey began in her southern Moroccan birthplace of Ouled Teima and continued with her immigrant upbringing in France. After establishing her musical career on the scene in Paris, she relocated to New York in 2004. She released her debut On the Ebony Road in 2006 followed by Berber Taxi in 2011; became a member of John Zorn’s innovative vocal quartet project Mycale; and appeared as a featured artist with Arturo O’Farrill’s GRAMMY Award-winning Afro-Latin Jazz Orchestra, among others. In 2019, after a transitional period spent in Casablanca, she made the move back to France. She is currently a member of Aruán Ortiz’s Flamenco Criollo and the vocal group Les Sahariennes, bringing together singers from Algeria, Morocco and Mauritania.

RWA is the story of Zarra’s vibrant lived experience on three continents, brought into focus by top-tier musicians hailing from ten countries. The album exemplifies a proverb from sub-Saharan Africa: “The old man who only lived in his village has only one intelligence. But the young man who has traveled through 10 villages is enriched by 10 intelligences.” RWA fully embraces this African wisdom. Its main lyrical message is to question the delusions of our world, in particular the borders erected to curb the movement of humans since the dawn of time. The vibrant sound represents a new Moroccan urban-world-jazz, using traditional North African chaâbi, Berber and Gnawa polyrhythms, to underpin Zarra’s distinctly contemporary urban compositions, all the while maintaining a sophisticated improvisational modern jazz approach.

The initial recording for RWA was done in New York, with a core Paris-based crew including pianist Amino Belyamani and percussionist Adhil Mirghani, both of Morocco, and upright bassist Bam Rodriguez of Venezuela. Soon, multi-instrumentalist Alune Wade of Senegal came onboard as co-producer and arranger for the project. Recording continued in Paris as the album grew to encompass a contingent of horn players on several tracks: trumpeters Carlos Sarduy, Miron Rafajlovic and Philippe Hulot; and saxophonists Dan Blake and Hugue Maillot (on bass clarinet as well). In addition, Senegalese kora virtuoso Cheikh Diallo and keyboardist Leo Genovese (on Rhodes and Farfisa organ) lend their artistry on two tracks.

The lyrics heard on RWA, too, involve collaboration. Five songs are in Darija, the Arabic dialect specific to Morocco, rich with loan words from French, Spanish, German and Amazigh. Zarra conceived the initial themes for these but turned to Moroccan visual artist Touda Bouanani and poet Hafsa Bekri-Lamrani to bring the lyrics to fruition. “It was important for me to collaborate with women, especially women in Morocco,” Zarra explains, though she also brought onboard novelist Jean-Luc Raharimanana of Madagascar for the lyrics to “Mamalia,” a unique blend of Moroccan folkloric song and text in the Malagasy language. Khadija Aakirane contributed vocals on “Mamalia” as well, recording in the Moroccan city of Agadir.

The French lyrics of “Comete” are Zarra’s own, while the lullaby “Yallah Tnam Rima,” the one non-original on RWA, was made famous by legendary Lebanese singer Fairuz. Accomplished Malian vocalist Mamani Keïta sings on the track and contributes additional new lyrics as well.

“Zrigh,” the closing song, is in the Amazigh language and is a significant reworking of the song “Run” from Zarra’s debut On the Ebony Road.

Rooted in Africa, Europe and America, RWA evokes on one level the triangular trade that bled the African continent for centuries. But from the forced meeting of Africa and Europe in the plantations of the Americas was born a myriad of popular music: blues, jazz, rock & roll. This too is Zarra’s musical inheritance, and through her own triangular journey she has arrived at a unique and fully mature musical conception with RWA.

“This album,” she says in summary, “is an invitation to celebrate the essence of what we are, what is unique and free inside us, but also to pay tribute to the ties that unite us, beyond any borders or division.”

KENNY LATTIMORE Secures His First #1 Billboard Adult R&B Song In 25 Years With His Hit Single, "TAKE A DOSE"

Grammy-nominated R&B vocalist and songwriter, Kenny Lattimore secures his first #1 Song on the Billboard Adult R&B charts in 25 years with his single, "Take A Dose". It was exactly 25 years ago, when Kenny Lattimore's globally-recognized signature song, "For You," secured the #1 spot on the charts. The Billboard and Mediabase #1 "Take A Dose" is Kenny's latest offering lifted from his recently released and critically-acclaimed 10th studio album, "HERE TO STAY". The album is available now, via The SRG/ILS Group in partnership with the SincereSoul Records label imprint.

“It’s been an incredible start to the year. My wife, Faith, and I just welcomed a baby girl two weeks ago and now I have another #1 song. I remember when For You was #1 for ten consecutive weeks and how validating that felt. Now, after a career spanning 25 plus years to be back at #1, I’m truly grateful. My album title really spoke truth to power – I’m here to stay," said Lattimore. "I want to thank all the radio stations, streaming media, and fans who have supported me on this journey to “Take A Dose” reaching #1.” Lattimore added, “This is also the first time I’ve had two songs simultaneously on the various charts, with the second one being, “Why Oh Why” with Artists for Global Unity, already charting in the Top 30's, also on Billboard.

"TAKE A DOSE" was written by Kenny Lattimore, Drakkar “Madicin” Wesley, Ivan Latimore, Leigh Elliot, Lucas Firming, and David Anyepong Duodu. Produced by Drakkar “Madicin” Wesley, Lee Major, Caz, and KND. "Take A Dose, is about the healing power of love.”

The whimsical and animated music video for "Take A Dose" was directed by Chico Benymon. "When my friend Chico Benymon heard the song, he immediately had a concept idea that I loved. It was showing women in a spa-like galaxy, called "The Cure," where they can select “The Lattimore Experience,” which allows them to overcome the feelings of fear, rejection, loneliness, etc.," mentions Kenny. "I instantly knew this was it," he laughs.

With a career spanning over two decades, highlighted by his 1996 breakthrough single “Never Too Busy” and the wedding staple “For You,” Kenny has garnered Grammy and Soul Train Award nominations, Top 10 singles, Top 20 R&B albums and an NAACP Image

Award for Best New Artist, while staying sincere about giving his heart and soul to communities through music.

The Washington DC native dazzles audiences with an unprecedented range influenced by his classical, jazz, and gospel upbringing. Kenny is famous for delivering just the right dose of classic crooning, exceptional runs and authentic emotion. He has placed a distinctive

stamp on classic songs recorded by musical icons as Donny Hathaway and The Beatles, transformed Christmas standards, and created musical magic on iconic movie soundtracks like Love Jones, Best Man and Disney’s Lion King II Simba’s Pride. Recently Lattimore’s “Days Like This” song was featured in “The Last Dance”- the 10 part Emmy Award winning documentary about the career of baseball legend Michael Jordan who listened to Lattimore’s music as he prepared for the NBA Finals.

Kenny Lattimore’s recording legacy includes the critically acclaimed albums, “From The Soul Of Man,” “Timeless” and “Anatomy of a Love Song,” which produced the Top 10 single “Love Me Back.” While “A Kenny Lattimore Christmas” earned a Stellar Award nomination for ‘Event CD of the Year,’ Lattimore’s ninth solo studio album “Vulnerable” produced another Top 10 hit, “Stay on Your Mind,” which climbed the charts to #7 on UAC Billboard and held top radio positions in multiple U.S. markets.

Kenny is a humanitarian who uses his life and platform as a tool to inspire others to pursue excellence and elevate positive conversation about art, culture, family and faith. Lattimore continues to tour globally, showcasing his unique creative journey through stunning and diverse set lists.

Shawn Raiford | "Forever"

Taking an ambitious approach to recording his second album, urban-jazz saxophonist Shawn Raiford is already thinking about legacy early in his recording career. With Valentine’s Day approaching, one could make the case that Raiford’s sultry new single, “Forever,” is all about love and romance, and it is in part, but the musician also has a deeper meaning in mind. The track written by Raiford, Ashley Jemison and Grammy winner Derek “DOA” Allen (Lionel Richie, Janet Jackson, Tyrese) is crafted with the intention of being timeless and standing the test of time.

Produced by Allen, “Forever” is powered by a tight and prominent midtempo drum groove while nuanced atmospherics add to the amorous ambiance. Raiford’s alto sax coos impassioned come-ons, soloing ardently in the company of fellow saxophonist Andre Delano who adds backing harmonies. Vocalist Quintina Paris emotes lustfully on the breathy chorus.  

“It’s definitely a steamy track. I’m a huge fan of Sade, and I wanted a track on the new album that reflected that type of seductive groove. When we were working on it in the studio, it felt like a timeless piece that would last and stand the test of time, which is my real goal. So, we titled it ‘Forever,’” said Raiford about the first single to be issued from the forthcoming “The Next Step” album slated to release this summer.

Raiford has been performing contemporary jazz, R&B, gospel, rock and pop music with his band throughout Northern California since 1999. He’s a dynamic entertainer, an award-winning performer who snagged the Best Live Performance title from the Sounds of Soul a decade ago, collected Hope Awards in the jazz and jazz performance categories, won Best R&B band at the Northern California Entertainers Music Awards, and is a Sammie nominated jazz artist.

On record, Raiford’s debut album, “Man with A Horn,” was released in September of 2020 spawning four charting singles – “All Systems Go,” “In The Moment,” “Good Vibrations” and the title track. The soul-jazz set finished on the year end chart at No. 22. Last November, Raiford released the holiday single, “Santa Baby,” to help whet appetites for “The Next Step.” “Forever” is destined to feed that desire.    

Although presently focused on finishing the new album, Raiford is stepping out of the studio to perform with his Shawn Raiford Experience band. 

New Music Releases: William Bell, Spanky Wilson, The Kevin Fingier Collective, Stan Mosley

William Bell – The Man In The Street – The Complete ‘Yellow’ Stax Solo Singles 1968-1974 

Having anthologized the early Stax singles of legendary soul man William Bell in the acclaimed collection “Never Like This Before” in 2022, Ace is delighted to follow up with the second volume of Bell’s solo singles for the label. Its predecessor featured the A and B sides of every one of Bell’s 45s as originally issued on the blue Stax label between 1960 and early 1968. “The Man In The Street” does the same for every solo 45 that this well respected southern soul man released between late 1968 and early 1974, after the company had changed its label colour to yellow and rebuilt its catalogue from scratch. Bell stayed with Stax almost until the label’s final demise in 1975. In the period covered by this collection he released some of his best known and best loved recordings, including his biggest Stax hit ‘I Forgot To Be Your Lover’ and long-time fan favourites ‘My Whole World Is Falling Down’, ‘Happy’ and his own version of his classic composition ‘Born Under A Bad Sign’. All of those are featured here, along with 20 more tracks of comparable calibre. As was the case with “Never Like This Before”, “The Man In The Street” offers the first all-embracing and chronological account of Bell’s solo activity during the period it covers.  Extensive sleeve notes and a label shot for literally every recording featured herein seal the deal on a truly significant collection. ~ www.firstexperiencerecords.com

Spanky Wilson - Spankin' Brand New

Heavy soul from the great Spanky Wilson – an album that explodes with energy right from the start – in a groove that definitely lives up to the title! Spanky's got a great mix of funk and class on this set – a punch in the rhythms at points, yet also a poise in the way she delivers the lyrics – a blend that's a bit like Marlena Shaw in her earlier years – and set to some killer arrangements from the great HB Barnum! Barnum gives the record all the cool punch of his great 60s work with Lou Rawls – and nearly all the material was written by the obscure Howlett Smith – an excellent lost writer who had a real talent for coming up with cool little soul songs that rise above the usual bag of his generation. This material works great for Spanky, and together, the pair, along with Barnum, cook up a unique lost soul treat! Titles include "Apartment 101", "On The Morning After", "The Other Girl", "You're Gonna Miss Me", "Love Has Me By The Hand", and "Mighty Great Feeling".  ~ Dusty Groove

The Kevin Fingier Collective – El Sonido de Fingier Records

The sound of Fingier Records… Over the past couple of years we’ve issued a series of stellar 7″ singles on our group label Fingier Records, headed up by Argentinian producer Kevin Fingier. Known for their dedication to soul, R&B, raw funk and latin sounds, many of these have been near-instant sellouts, finding themselves on collector sites selling for ten-times more. This compilation brings these singles together onto one LP, with graphics and photography on a sleeve to match the sound and style of Fingier Records. It features the vocals of Diane Ward, Jo-Ann Hamilton and Gerri Granger, Brazilian singer Jose Dias and Senegalese vocalist/percussionist Abdoulaye Badiane, backed by the all-star Kevin Fingier Collective. A great opportunity to own these rare sides, and enjoy them in a new setting and context on a beautifully presented LP. Also available as gatefold soft-pack CD edition. ‘I see Fingier Records as an artistic project, more than a record label. And I try to apply that concept in every decision that I make for the song composition, the music production, the audio sound, the analog photographs and the graphic design. This compilation shows this vision perfectly’ – Kevin Fingier ~ www.firstexperiencerecords.com

Stan Mosley - No Soul No Blues

The title's not right – as there's plenty of soul and plenty of blues throughout – just the sort of thing we'd expect from Stan Mosley's long legacy of indie recordings from the contemporary underground! We first started hearing Stan's music on the Malaco label at the end of the 90s – a great continuation of that company's way of keeping southern soul alive by mixing it with a bit of blues – a quality that definitely comes through on some of these cuts, with a bit of blues guitar solo in the lineup – while Stan soars out as more of a deep soul singer on others! The vocals are wonderful throughout – nicely unbridled, and very much up to Mosley's legacy – on titles that include "You Need Love", "Blues Man", "I Can't Get Next To You", "This Train", "Losing Hand", "Stomp", "Right Next Door", and "I'm Back To Collect". ~ Dusty Groove

New Music Releases: James Brandon Lewis, Lakecia Benjamin, Jim Snidero with Kurt Rosenwinkel, Adam Blackstone

James Brandon Lewis - Eye Of I

A much more stripped-down album than some of the other recent efforts from tenor saxophonist James Brandon Lewis – but in a way that maybe shows his power and potential even more than before! Lewis is tremendous right from the start – blowing with a sense of soul and spirit that's completely captivating – not a voice on the tenor that's aping or channeling others, but very much his own style – personal, but in ways that can bridge worlds too – as he works with just the right balance of accompaniment in the drums of Max Jaffe and cello of Chris Hoffman, who often plucks the instrument in ways that are more like a bass. Jaffe adds in extra percussion at points – and titles include "Womb Water", "Fear Not", "Send Seraphic Beings", "Foreground", "The Blues Still Blossoms", and "Within You Are Answers" – plus a nice take on the Donny Hathaway classic "Someday We'll All Be Free".  ~ Dusty Groove

Lakecia Benjamin - Phoenix

Lakecia Benjamin has become one of the most unique saxophonists in jazz over the course of her past few records – an artist who can hit deeply spiritual tones when she wants to, but one who's also got a strong sense of soul – able to mix inspirations from the farther reaches with some warmer, straight-ahead grooves – all at a level that's got her hitting strongly in both the worlds of jazz and R&B! Here, Lakecia really expands her palette – blowing the alto pictured on the cover, but also adding in keyboards and shaping the overall sound of the set with the ear of a great producer – in a core lineup that features Victor Gould on Fender Rhodes and organ, EJ Stickland on drums, and Josh Evans on trumpet – with plenty of guest work throughout, including appearances from Dianne Reeves, Patrice Rushen, Georgia Anne Muldrow, and even the great Angela Davis! Titles include "Moods", "Rebirth", "Trane", "Amerikkan Skin", "New Mornings", "Phoenix", "Jubilation", "Basquiat", and "Supernova".  ~ Dusty Groove

Jim Snidero with Kurt Rosenwinkel - Far Far Away

A record that seems to bristle with color and life throughout – a surprisingly strong pairing of the tenor of Jim Snidero and the guitar of Kurt Rosenwinkel – the latter of whom seems to have a bit more bite than usual, but also seems to infect Snidero's horn with his innate sense of color! The rest of the lineup is equally great – a superb core trio with Orrin Evans on piano, Peter Washington on bass, and Joe Farnsworth on drums – and the blend of Farnsworth and Evans seems to bring in a new freshness to each of them as well. Titles include "Obsession", "Pat", "Nowhere To Hide", "Little Falls", "Search For Peace", "Infinity", and "Far Away".  ~ Dusty Groove

Adam Blackstone - Legacy

The long-overdue debut as a leader from Adam Blackstone – an artist who's served as musical director for a fair bit of bigger acts, and finally gets a chance to join them in the spotlight with this release! Blackstone's a bassist, but also has a multi-instrumental capability, and is a hell of a producer too – and for the set, he draws on his larger background in both soul and jazz music, opening the door to friends from the Philly scene and a fair bit of other big names too! There's an equal balance between jazzy instrumentation and soulful vocals on the record – thanks to work from guests who include Leslie Odom Jr, Robert Glasper, Jill Scott, Jazmine Sullivan, Will Pass, Jazzy Jeff, John Scofield, Queen Latifah, and Terrace Martin – a nicely varied lot who keep things interesting on titles that include "Lost", "Back On The Strip", "Amongst The Stars", "New Day", "Legacy", "The Storm Will Pass", "My Winger", and "Biggest Greatest Thing". ~ Dusty Groove

Bob Marley - 12 limited-edition vinyl L.P.s, each numbered and pressed exclusively at the legendary Tuff Gong International headquarters

The Marley Family, Tuff Gong, and UMe commemorate Bob Marley's 78th birthday by honoring his life and musical heritage by announcing twelve limited-edition Bob Marley vinyl L.P.s, each numbered and pressed exclusively at the legendary Tuff Gong International headquarters in Kingston, Jamaica, featuring nine original studio albums and two original live albums, plus the world's best-selling reggae album, Legend, all including a highly-desirable Tuff Gong stamp. Additionally, Catch A Fire, initially recorded by The Wailers in Jamaica and eventually released with overdubs and a mix overseen by Island founder Chris Blackwell at the label's London headquarters, will only be available in its original Jamaica-recorded version, with two extra tracks from the sessions and some tracks with longer fades. Produced entirely by Bob Marley & the Wailers and mixed by longtime Marley associate Errol Brown, this Jamaican version are now on vinyl for the first time

The limited-edition albums were pressed at Tuff Gong's newly refurbished vinyl pressing plant, which re-opened in the summer of 2020 and has an annual capacity of 250,000 units. Each album was mastered by Dave Cooley at Elysian Masters in Los Angeles. 

"Fashion Icon," the tenth episode of the Webby-award-winning,* 12-part documentary series Legacy, premieres today on Bob Marley's Official YouTube Channel. Supported by visuals throughout his career, interviews with those close to him, and from established voices in the fashion and music industries, "Fashion Icon" paints a picture of how Marley's life shaped his wardrobe and how his evolution as a creator solidified his status as a global, and cultural ICON. 

In addition to Bob Marley's extensive global impact on music, "Fashion Icon" examines Marley's creative influence on the fashion world, his style's evolution throughout his career, and his far-reaching and unwavering impact on global culture and fashion. The episode explores how Marley's journey from growing up in Jamaica and the years following, including his illustrious music career, influenced his style. In "Fashion Icon," members of the Marley family reveal their perspectives on how Bob's style shaped their appreciation for fashion and how it has influenced others since. The episode is narrated by Cedella Marley and features appearances from Ky-Mani Marley, Rohan Marley, and Skip Marley, as well as insights by famed art director and designer Neville Garrick, Hip-Hop Legend and activist Chuck D. In addition, designers Paul O'Neill (Design Director, Levi's), Aurora James (Creative Director and Founder of luxury accessories brand Brother Vellies), Edvin Thompson, Designer and Creative Director of Theophilio), and Anik Khan, Bangladeshi-American musician & entrepreneur also provide invaluable input on Marley's contribution to the fashion culture. 

The Official Bob Marley One Love Experience recently made its U.S. debut at Ovation Hollywood in Los Angeles, CA. The 12-week engagement showcases never-before-seen Marley photographs and memorabilia while immersing visitors in a journey through his life, passions, influences, and enduring legacy. After a successful 2022 tour through London and Toronto, the experience allows visitors to venture through the One Love Forest, visit the Soul Shakedown Studio and delve into the multi-sensory experience celebrating one of the world's most beloved and unifying musical figures. 

Adding to the birthday festivities, Ziggy Marley will help celebrate the Grand Opening of The Sound, a brand-new venue in Del Mar, CA. Ziggy and his band will perform an extraordinary live tribute to his father, breathing new life into Bob Marley's most iconic songs for two sold-out shows - tonight, February 3, and tomorrow, February 4.

Plus, Island Records recently released a reimagining of the Bob Marley and The Wailers classic "Stir It Up" in collaboration with one of the most successful African rappers of all time, Ghanaian rap icon Sarkodie. The Caribbean and Africa unite on one of the most recognizable songs in the world to give us romance and nostalgia. Produced by MOG, this song combines the signature guitar strums and soothing bounce we know and love with Sarkodie's iconic flow. The official music video for 'Stir It Up' showcases the vibrant relationship between Jamaica and Ghana. With Sarkodie leading on creative direction, these Ghana-shot visuals authentically explore identity, unity, and community. 

Lastly, inspired by its breezy vibe, tropical rhythms, and easy-going decree, the Marley family, friends, and fans worldwide will celebrate Bob Marley's 78th Earthstrong under the theme, "Easy Skanking." The virtual celebration will include messages from the family and a series of events culminating in a concert fit for the reggae legend. The annual festivities held at the Bob Marley Museum in Kingston, Jamaica, will highlight a star-studded show that will be streamed "live" on the Tuff Gong TV YouTube channel. The concert will feature a slew of popular Jamaican entertainers, including Beenie Man, Patra, Mortimer, Luciano, Lady G, and Khalia, as well as two very special tributes for Wailers member Tyrone Downie and Jo Mersa Marley. Footage from the opening of Bob Marley Experience in Los Angeles will also be available for viewing. Adding to the festivities, SiriusXM will include a previously recorded live concert recorded the Tuff Gong Studio on January 29, 2023, which previously aired exclusively on Bob Marley's Tuff Gong Radio (SiriusXM, ch. 19) in North America. Join the Bob Marley 78th birthday celebrations LIVE on Monday, February 6, 2023, on the Tuff Gong TV YouTube channel. 

Bob Marley, a Rock and Roll Hall of Fame inductee, is notable not only as the man who put reggae on the global map but as a statesman in his native Jamaica; he famously brought together the country's warring factions. Today, Bob Marley remains one of the 20th century's most important and influential entertainment icons. Marley's lifestyle and music continue to inspire new generations as his legacy lives on through his music. In the digital era, he has the second-highest social media following of any posthumous celebrity. The official Bob Marley Facebook page draws more than 74 million fans, ranking it among the Top 20 of all Facebook pages and Top 10 among celebrity pages. Marley's music catalog has sold millions of albums worldwide. His iconic collection LEGEND holds the distinction of being the longest-charting album in the history of Billboard magazine's Catalog Albums chart and remains the world's best-selling reggae album. Marley's accolades include inductions into the Rock and Roll Hall of Fame (1994) and ASCAP Songwriters Hall of Fame (2010), a GRAMMY® Lifetime Achievement Award (2001), multiple entries in the GRAMMY® Hall Of Fame, and a star on the Hollywood Walk of Fame (2001). 

Canada’s All-Star MAPLE BLUES BAND Releases “Hey Nola“ From ‘Let’s Go’ Album

For nearly a quarter century, The Maple Blues Band has been the cornerstone of the Toronto Blues Society’s annual Maple Blues Awards (MBA), honoring the creme de la creme in Canadian blues music. With its upcoming full-length record, “Hey Nola,” the Maple Blues Band will step into the spotlight, showcasing the lively instrumental compositions the all-star ensemble has created over the course of its decades together, out now from Cordova Bay Records. 

Bassist, band leader and musical director Gary Kendall - perhaps best known for his association with Downchild Blues Band - started the project back in 1998, after a meeting of the Toronto Blues Society.  “I boldly told all present that the music that accompanied the award presentations should be better. The comeback was, ‘Let’s see what you can do.’ It must be working because the band has been the centerpiece of the Maple Blues Awards ever since,” Kendall recalls. 

Kendall dreamed of putting together a big band that could tackle a wide variety of styles, including Delta blues, Southside Chicago blues, New Orleans funk, uptown blues, zydeco, blues rock, and most of all Canadian blues, and recruited some of the finest folks on the Canadian blues scene to join him in making that dream come true. 

Providing the theme and background music for the event, as well as accompanying the special guests performing at the awards ceremony, the group is made up of many MBA winners and nominees. The band’s current lineup includes Pat Carey on tenor saxophone, Teddy Leonard on guitar, Al Lerman on harmonica and acoustic guitar, Jim Casson drums and percussion, Howard Moore on trumpet, Lance Anderson on Hammond B3, piano and accordion, Alison Young on baritone, tenor and soprano saxophones, Meirion Kelly on trombone, and Roshane Wright on percussion.

Kendall calls Let’s Go a true group effort, featuring contributions from band members both past and present, with songwriting credits drawn from over the group’s 24-year history. 

“The songwriting helped The Maple Blues Band create a personal and unique sound. It’s what I refer to as ‘big band blues,’” he notes. “The men and women I chose to surround myself with in The Maple Blues Band are part of the enormous southern Ontario pool of blues talent. Each one of them is a star.”

With the release of Let’s Go, The Maple Blues Band plans to take that irresistible big-band blues sound and star-quality roster to the next level, representing both its venerable past and an exciting new chapter in its ongoing commitment to the very best in music.

Myron McKinley | "Sound Alchemist"

Years in the making and after a pandemic delay and a hectic schedule serving as musical director for Earth, Wind & Fire, keyboardist Myron McKinley’s adventurous experiment in sound mixing jazz, neo soul, hip hop and funk is finally slated to release on February 10. McKinley produced “Sound Alchemist,” his debut album arriving from Dark Elf Music that will be celebrated the next night with a concert performance at The Miracle Theater in Inglewood, CA. Tickets for the show presented by Concerts.Cafe and radio station KJAZZ are on sale now.

There’s something that feels righteous about “Sound Alchemist” dropping during Black History Month. The ten-track collection is a culturally rich amalgam reflecting the diverse Black music diaspora.  

“‘Sound Alchemist’ couldn’t have been made without some of the Black pioneers of music that have led with their creativity, technique, vision and style. From Nat King Cole, Oscar Peterson, George Duke and Miles Davis to our living legends like Herbie Hancock, there’s an essence of them that I feel is reflected in this project,” said McKinley, who composed six songs for the set as well as crafted imaginative interpretations of material originally recorded by Drake, Sting, The Carpenters and, naturally, Earth, Wind & Fire.

With a set list highlighting tunes from “Sound Alchemist,” McKinley will be flanked on stage at The Miracle Theater by guitarist Tony Pulizzi, bassist Ian Martin, drummer Stacey Lamont Sydnor and EWF saxophonist Gary Bias (who performs on the album). Several special guests are expected to perform with McKinley including EWF’s effervescent energizing bass player Verdine White (who appears on the album) and vocalist LaVance Colley.

Last fall, a couple of music videos were released for songs from “Sound Alchemist.” McKinley’s pays homage to Earth, Wind & Fire with a version of their R&B ballad “Imagination” and a video made from hundreds of photos taken by the keyboardist over his twenty years of performing around the world with the Rock & Roll Hall of Famers. An audacious blend of club banging dance grooves, edgy hip hop and futuristic jazz comes alive in the innovative computer animated video for “Let’s Just See.” Both videos are available for viewing at https://myronmckinley.com/sound-alchemist.

When he first began work on “Sound Alchemist,” McKinley had an ambitious goal of testing the boundaries of jazz, pushing those limits and breaking through in an attempt to spur growth and evolution in the musical artform. Among the alchemists he invited to experiment on the record are Grammy-winning saxophonist Gerald Albright, bassist Reggie Hamilton, percussionist Munyungo Jackson, guitarists Eric Walls, Morris O’Connor and Greg “G-Moe” Moore; EWF trombonist Reggie Young, and vocalists Danny McClain, Isabella Chiappini and Denaine Jones.  

McKinley is a Los Angeles native who was trained in classical and jazz, but also credits the church and hip hop for shaping his sonic mélange. He has toured with Whitney Houston, Kenny Lattimore, Stanley Clarke and En Vogue; written, cowrote or produced songs for EWF, Clarke, Doc Powell, Silk, Vesta, Cherokee and Howard Hewett; and 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 others.

Tickets are available for The Miracle in four tiers. Table seating ($202) includes two signed “Sound Alchemist” CDs, two signed posters, two glasses of champagne, and two twelve-ounce packages of McKinley’s Legacy Coffee, which is an Ethiopian Misty Valley Blend (Light/Medium Roast). VIP seating ($75) includes one signed CD and poster, and one twelve-ounce package of coffee. Floor seats are $55 while balcony seats go for $40. 

Baby Charles' self-titled LP reissued for its 15th Anniversary

Together with Nicole Willis And The Soul Investigators’ “Keep Reachin' Up” album, 2008’s Baby Charles debut LP is the album that defined the European funk scene of the 2000s. Mojo Magazine described them as “the most likely candidates to lead the Deep funk scene” after hearing the album. Driven by the single “I Bet You Look Good On The Dancefloor”, an afro-funk cover of the Arctic Monkeys' hit, the LP went rapidly sold out, it was never been repressed and it now changes hands for ludicrous sums on the web. English writer, DJ, and television presenter Mark Lamarr, who wrote on the album’s liner notes to “file it amongst your funk classics”, invited the band to BBC's Maida Vale Studios, where they recorded a legendary live session for his BBC Radio 2 God's Jukebox show. In France, the album benefited from a massive support from legendary Radio Nova station thanks to its “Nova Aime” campaign, while in 2009 Pitchfork crowned Baby Charles, together with Sharon Jones & The Dapkings, as the reference band of the international funk scene. The band split up in 2010 when they were about to enter the studio to give birth to the awaited sophomore album and while the debut LP started reaching a cult status among djs and collectors.  

The 15th anniversary edition will hit the streets on March 17th, 2023 on limited edition LP and Digital Deluxe Edition featuring two bonus tracks: “Time Wasting”, which displays the heavier psychedelic edge of Baby Charles, with an unstoppable chugging groove, a heavy horn-led break, and climatic chorus to finish the track off, and “Jackson Fingers”, for which the band created a brand-new groove that could work just as well as a sixties soundtrack or as a dance-floor friendly slab of soul-jazz. 

The “Baby Charles” album was published on March 10th, 2008 and followed the release of 3 heavyweight 45s, all of which found heavy rotation in funk spots around the globe. On the album, Soul diva Dionne Charles delivers her unique, self-penned stunning vocal performance, while the band lays down the heavy funk grooves. Throughout the 12 tracks, the combo displays a range of styles, which reflect their diverse influences. There's the Latin-inspired bass groove in “Treading Water”, the Meter's style funk of “Invisible”, the James Brown influence on “Hard Man To Please” and “No Controlling Me”, the afrofunk of “I Bet You Look Good On The Dancefloor”, there's even some Egyptian Jazz thrown in the mix on the instrumental track “The Sphinx” and a deep soul version of DJ Shadows’ “This Time”. The result is a must-have album for diggers, djs and funk and soul fans. 

The reissue of Baby Charles' album is part of Record Kicks’ 2023 initiatives to celebrate its 20th anniversary. Side by side with similar imprints like Daptone, Big Crown, Colemine or Timmion Records, under its motto "The explosive sound from Today's scene", Milan-based record label and music publishing Record Kicks, has been pitching the contemporary funk & soul scene since 2003. With over 250 releases under the belt, the label has released bands from all over the globe and earned support of VIP fans such as rap superstars Jay-Z, Tyler The Creator and Dr. Dre, who sampled the label’s catalogue.

Sam Bardfeld Trio | "Refuge"

Violinist and composer Sam Bardfeld proudly announces the release of his new trio album, Refuge, the follow up to the critically-acclaimed The Great Enthusiasms, his second for Brooklyn Jazz Underground Records, and his fourth as a bandleader. On Refuge, to be released on March 24, 2023, Bardfeld once again called upon the eclectic, multifaceted propulsion of drummer Michael Sarin, and welcomes into the fold, the virtuosic and creative pianist Jacob Sacks. 

A refuge is a haven, not an escape. It’s a space to exercise one’s idiosyncrasies. This album serves that purpose for Bardfeld, Sarin and Sacks. It also serves as further expression of Bardfeld’s penchant for the tradition of “weird” iconoclasm in American music. It is no accident that critics place Bardfeld in this tradition of Monk, Ives, and Stuff Smith. As Bardfeld states, “It is one of humanity’s great cultural feats. The joy, the darkness, and the eccentricity of American culture are our birthrights, our refuge.” 

The music on Refuge follows a similar line to its predecessor, The Great Enthsusiams. It is at once lyrical, quirky, forward-looking, and deeply rooted in tradition. Bardfeld’s playing swings hard and integrates abstraction and expressiveness. One can hear references to a wide range of musicians stretching from Stuff Smith, Lee Konitz, and Eric Dolphy to 'post-jazz' contemporaries like Mary Halvorson. Sacks is an excellent harmonic partner and his piano virtuosity and off-kilter sense of humor fit perfectly into Bardfeld’s world. Sarin brings his tremendous gifts for orchestration, musical wit, sympathetic dialogue, and overall intelligence. The unusual instrumentation, with no bass, creates extra harmonic and textural space and adds intimacy to Bardfeld's unique compositions. 

In addition to five new Bardfeld compositions, the trio covers two songs that fit the theme - Andrew Hill’s ‘Refuge’ and Bruce Springsteen’s ‘Atlantic City.’ Bardfeld explains, “Andrew Hill has been called ‘one of the great overlooked geniuses of jazz’ because of his commitment to a singular, unconventional voice - a personal language that, like that of his hero Monk, is angular, lyrical, and harmonically unique. ‘Refuge’ is the opening track of his magnum opus, Point of Departure (1964). The song ‘Atlantic City’ is a personal favorite among Springsteen’s recordings (from his 1982 Nebraska album). It is a vision of hope and refuge in a noir world. As the chorus states, ‘everything dies, baby, that’s a fact, but maybe everything that dies someday comes back.’ Bardfeld had the pleasure of recording and performing this song on tour with Springsteen and it stuck with him. 

Both Bardfeld’s playing and writing for this trio are unique and Sacks and Sarin inhabit his musical universe beautifully. Sam is a teller of musical stories that are odd, poignant, lyrical, and in the American tradition. He says, “As there is community in the expression of shared joy, there is community in weird, personal, iconoclastic stories and voices. With America’s recent flirtation with autocracy, these stories are more salient now than ever.” 

Bardfeld holds a unique niche in the jazz violin world with his fluency in inside, outside, and downtown worlds. He is a rarity in being both an accomplished jazz violinist and a true artist with a unique improvisational and compositional voice. Outside of his own trio, Bardfeld is a member of The Jazz Passengers and a semi-frequent collaborator of Bruce Springsteen's (a veteran of three recordings and two tours). He has worked as a sideman for a long list of jazz, pop, folk and experimental acts including Anthony Braxton, Henry Butler, Kris Davis, John Zorn, Ingrid Laubrock, Tomeka Reid, Steven Bernstein, Roy Nathanson, Hank Roberts, Vince Giordano, Elvis Costello, Calexico, Debbie Harry, John Cale, Savion Glover, The Red Clay Ramblers, Nancy Sinatra, Willie Colón, Johnny Pacheco, and Dar Williams, among others. Sam is also the author of Latin Violin, considered the seminal text on the Afro-Cuban violin tradition. Bardfeld has taken his groups to festivals and clubs throughout Europe including Banlieues Bleues (Paris), Sud-Tirol Jazz Festival (Italy) and Porgy and Bess (Vienna). 

On top of the release of Refuge on March 25, 2023, new collaborative/sideman projects this year include being asked by MacArthur Grant recipient Tomeka Reid to participate in a new string quartet dedicated to performing the music of Julius Hemphill. The Hemphill Stringtet debuted in 2022 with appearances at the Berlin Jazz Festival, and the Frequency Festival in Chicago. Bardfeld has also joined a new collaborative trio with jazz legend, drummer Barry Altschul and bassist Joe Fonda

Tony Kadleck Big Band | "Sides"

Trumpeter, composer, arranger, and bandleader/educator Tony Kadleck is one of the most sought-after trumpet players on the New York City scene, and has been for some time. He moved to NYC in 1986, following his studies at the New England Conservatory–and a stint in the trumpet section of The Buddy Rich Big Band–and his phone has been ringing ever since. For good reason; at every turn, Kadleck puts the music first, and more than takes care of business. He graduated from the Manhattan School of Music in 1989 and quickly hit the road with the likes of Frank Sinatra, Barbara Streisand, Blood Sweat & Tears, and others. Eventually, Kadleck was in such high demand locally, for studio and stage work, that touring took a back seat. He played on countless jingles, scores for TV and film, and worked with the cream of the crop, including Luther Vandross, Michael Jackson, Elton John, Celine Dion, Stevie Wonder, Ella Fitzgerald, Issac Hayes, and most recently Steely Dan, Tony Bennett/Lady Gaga, Santana, Weezer, Steve Tyrell, and many, many others. In addition to an on-going abundance of freelance sideman work with NYC’s A-list artists, Kadleck is currently a member of many organizations, including the New York Pops, John Pizzarelli’s “Swing Seven”, the Maria Schneider Orchestra, John Fedchock’s NY Big Band, and can currently be heard on Broadway in the band for “MJ”.  

To say that Kadleck is a rare bird is a major understatement. Possessing the expertise, musical acumen, phrasing, range, chops, and the desire to handle gigs as diverse as the New York Pops and The Who (for example) with straight-ahead professionalism and excellence is not common. His prowess now bears fruit on his own project, Sides (to be released on Marshall Gilkes’ Alternate Side Records on February 10, 2023), which follows up his previous big band album, Around The Horn, and his debut as a leader, Extended Outlook.   

Somehow, Tony Kadleck found time in his bustling sideman schedule to expertly arrange nine of his favorite tunes for a star-studded big band recording, titled Sides, featuring Kadleck’s brilliant interpretations of Herbie Hancock’s “Driftin’”, Joe Henderson’s “Recorda-Me”, Jobim’s “Desafinado”, Bill Withers’ “Use Me”, another Hancock classic, “Dolphin Dance”, another Joe Henderson gem, “Caribbean Fire Dance”, one of Joni Mitchell’s biggest hits, “Both Sides, Now”, Paquito D’Rivera’s “One For Tom”, and “Can’t Buy Me Love”, from Lennon/McCartney.

The band on Sides is a dream band for sure, and probably could only be assembled in NYC, and most likely could only be corralled by a few people on the scene, Kadleck being one of them. Kadleck arranged solo spots for fellow trumpeters Greg Gisbert (on “Driftin’”), Marvin Stamm (on “Desafinado”) and Mike Rodriguez (on “Dolphin Dance”), and dazzles and delights us with his own solo flights on, “Use Me” (a wonderful example of the quintessential trumpet sound that Kadleck brings to the table), and “Both Sides, Now” (a beautiful, soul-stirring and poignant example of a world-class trumpeter and arranger at work, as is the entire album). Other artists featured on Sides include tenor saxophonist Jason Rigby on “Driftin’” (“whose technique and beautiful sound shine,” says Kadleck), Andy Snitzer on tenor saxophone (“one of the best in this genre,” proclaims Kadleck), “a fiery trumpet solo by the incredible Mike Rodriguez,” on “Dolphin Dance”, drummer Jared Schonig, the driving force behind Henderson’s spirited “Caribbean Fire Dance,” and Jon Gordon and Marshall Gilkes on “One For Tom,” of which Kadleck says, “Jon evokes the gorgeous sound and time feel of the great Phil Woods, and Marshall plays lines that we never knew were possible on the trombone.” 

When you really think about it, Sides has taken a lifetime to make. It is a culmination of thousands of hours of erudition, developing and maintaining the physical aspects of the trumpet, harmony and theory, sessions, gigs and tours, etc . . . really, a staggering amount of passion, love, work and experience goes into what you hear coming from Tony Kadleck’s horn, and from his colleagues on this album. Therefore, the release of Sides on February 10, 2023 is cause for reveling in the joy, excitement, wistfulness, and contemplation that these artists and this recording are capable of conjuring up.  

Emilio Teubal | "Futuro"

NYC based, Argentine pianist/composer Emilio Teubal presents his new recording (his sixth as a leader), Futuro. The title track, and most of the music on the album, was conceived of and composed during the initial lockdown in early 2020 for the newly formed, Emilio Teubal Post-Trio (w/ Pablo Lanouguere and Chris Michael). It is reflective of Teubal’s experience during this harrowing, uncertain time, with the added sadness of mourning the loss of his father. The music heard on this album came to life in the studio at the end of 2021 when the Post-Trio was joined by special guests, drummer Brian Adler (replacing Chris Michael who had a strong case of long-covid, and hasn’t recovered since), vibraphonist Chris Dingman, guitarist Fede Diaz, and clarinetist Sam Sadigursky. The resulting album is an eclectic, modern collection of singular music which represents Teubal’s rumination and contemplation about loss, grieving, and of course about the future; his own, and the world’s. 

Teubal explains, “Futuro (Future) is the word that synthesizes all those emotions that I felt during that period: the idea that suddenly we were living in a dystopian world not far from what is seen on those end-of-the-world movies I used to watch as a kid such as Mad Max and Blade Runner. On a more personal level, the loss of my dad in 2021 was a big part of the concept of “the future" that I had as a kid. Without much preparation, I found myself in a new reality that meant navigating a life without parents (is it even possible? I used to wonder)." Teubal pays tribute to his late father on the album’s closing tune, "Los Ultimos Seran los Primeros." “’The last one would be the first,’ is a phrase my dad would always use when I would lose a race or a game (probably against my brother). I finished writing this piece a few days before my dad passed in January 2021, so this is the last music he heard me compose and practice. This piece will always remind me of him, of those last days we spent together, and of how much I miss him. Closing this very personal album with this song felt like the right way to pay tribute to my dad,” says Teubal. 

Teubal also pays tribute to a dear friend who passed away recently, with the composition “Tokyo-Trenque.” Teubal elaborates, “I composed this piece in the style of Zamba (a rhythm/form from the north of Argentina), dedicated to Eduardo Garcia, a very close friend who we lost in 2019. Eduardo was born in Trenque Launquen, a small town in the middle of the Argentine Pampas, and he passed away in Tokyo, Japan. The title of the song refers to his departure and arrival destinations.” 

Futuro is a recording in which many different styles and genres organically coexist. Argentine music, especially the folk rhythms zamba, chacarera, milonga, etc, is a common language that keeps the music and musicians on the same page. However, it is far from being just an Argentine music record as Teubal is strongly influenced by modern jazz, classical music, rock, cinematic music, experimental, and even by Balkanic and Middle Eastern Music. This mixed bag, is represented in much of the music, including “Children of MMXX,” initially conceived using Chick Corea's Children's Songs as inspiration. “Next to the room where I have my piano, my then 7-year-old son was attempting to ‘go to school’ through Zoom. I felt for him, so I dedicated this piece to him and his generation; the kids who had to go through that horrible and disruptive experience during the pandemic,” explains Teubal. 

On “Remolinos (Tolerance)” a minimalistic piece that, instead of being inspired by classical minimalistic composers such as Phillip Glass or Steve Reich, was conceived as an homage to one of Teubal’s all-time favorite rock bands, King Crimson. “The addition of Chris Dingman's vibraphone opened up new possibilities on this tune, and others that he appears on. The subtitle of the song, Tolerance, was added later and it refers to the nickname that was given to the song by my son and my partner at the time, who had to listen to me and tolerated me practicing such a repetitive song. It’s also a wink to Crimson’s, Discipline. 

Los Que Fluyen (those that flow) is a Chacarera-infused song (Chacarera is a rhythm/song form/dance from the north of Argentina) that was part of the initial repertoire of the trio, but then acquired a new dimension in the studio thanks to the folkloric strumming of Fede Diaz’s guitar. Teubal comments that, “los que Fluyen” refers to a particular method of composing music that flows very organically for me, but it also refers to those situations in which things/energy flows smoothly and effortlessly (it can be friendships, relationships, musical ensembles, etc). We tend to stop and pay attention when those things don’t flow organically, but when they do, we don’t even notice it (and not noticing usually is a sign that things are flowing.) 

Other highlights on Futuro include Lennon-McCartney’s “Blackbird,” arranged in the style that fits the trio, with elements of Chacarera, odd meters, and a minimalistic cinematic coda, providing a snapshot of the heterogenous styles of the recording; “Rio” (titled by Teubal’s son after one listen), which works especially well with this trio due to, “drummer Chris Michael’s adeptness with South American grooves,” says Teubal; and “Tortuga,” a piece Teubal wrote for solo piano and featured on his previous album, Tides. “One of the most challenging and fun tunes for the trio to play. The version we recorded with the trio departs from the solo piano version thanks to the beautiful solo bass interlude that Pablo Lanouguere wrote, that eventually leads to a free improvisation that works as a contrast for all the written material,” explains Teubal. 

Deep funk kings The Mighty Mocambos release live album 'Scénarios' (funk / breaks)

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Big Crown, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as hiphop pioneer Afrika Bambaataa, soul star Lee Fields, German composer Peter Thomas or master producer Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years.

If their debut album “This Is Gizelle Smith & The Mighty Mocambos” from 2009 presented them as the backing band of soul siren Gizelle Smith, follow-up “The Future Is Here” in 2011 put them firmly on the map as their own distinct and self-sustained entity, exploring new collaborations with guest vocalists and providing the blueprint for what would become their modus operandi. By third album “Showdown“ from 2015 The Mighty Mocambos had cemented their standing and reputation as one of the recognizable and exciting funk bands out there.

Fourth album “2066“ was released in October 2019 and sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hip hop pioneer Ice-T, up and coming MC JSwiss and the golden girl of funk Gizelle Smith.

Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily, witnesses of their concerts will tell you about the musicality, passion, energy, humor and joy that the band loves to bring to the stage and people.

 

Soulful new self-titled album by Nathan Johnston & The Angels Of Libra

The Angels Of Libra are a 10-piece soul outfit from Hamburg with a high affinity to analog recording techniques, 60s soul revue concepts and film scores.

Born out of a recording session in a house in Denmark in which producer & guitarist Dennis Rux, keyboard player Chris Haertel, bassist David Nesselhauf and drummer Lucas Kochbeck spent two weeks writing and recording instrumental songs onto a 1980s TASCAM 388 8-track tape recorder, the project was originally intended to be a soul revue featuring various singers throughout the record. 

A few years previously, Rux had met Nathan Johnston at Clouds Hill Studios in Hamburg while working on their own separate projects. In a search for new voices, Rux asked Johnston if he would like to feature as a vocalist on one of the songs from the Denmark recordings. As a challenge to his own songwriting abilities (with no instruction as to the lyrical content/vocal melodies and complete freedom of expression) Johnston accepted the offer and a few months later sent a demo to Rux of the newly titled track – “Angel Of Libra”. 

After hearing it, the band decided to name themselves after the song’s title.

The newly appointed Angels Of Libra made their debut in March 2021 with digital single “Kung Fu Noir”, a cinematic instrumental with mysterious vibes. Their first physical release however, came almost a year later, in February 2022, with double-sider 45 “Bless My Soul” / “Souvenir” on Légère Recordings, featuring music whiz Shawn Lee getting down over two modern soul steppers: A-side “Bless My Soul” is a dreamy funk track with a catchy hook, while the B side, “Souvenir” is a proper feel good soul number. 

In the meantime, the band enlisted Johnston to come to Rux’s ‘Yeah Yeah Yeah!’ studios in Hamburg to write and record a full length album, featuring 10 tracks of their own compositions reminiscent of Air, Khruangbin or Ennio Morricone. 

The first single off that album is the moody and seductive “Angel Of Libra” set for release on June 3rd 2022 with Berlin-based label Waterfall Records, soon to be followed by the full-length, and more surprises…. stay tuned!

New Music Releases: Malcom Strachan, Eufórquestra, Joel Sarakula, Harry Bartlett Trio

Malcolm Strachan - Point Of No Return

Malcolm Strachan has been a pro trumpet player since he left the Leeds college of music in 1996. During his career he has worked with countless artists and toured the world with big international names such as Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, The New Mastersounds, Martha Reeves & The Vandellas, Craig Charles’s Fantasy Funk Band and has recorded on countless pop tracks with various artists. Malcolm, who is originally from Inverness, Scotland, formed horn section / funk band The Haggis Horns in 1998 after leaving the college with fellow Scots Atholl Ransome from Dunfermline and the late Jason Rae from Aberdeen. They started out doing various club residencies in Leeds and quickly gained a following after appearing on “Keb Darge presents The New Mastersounds” and soon later releasing their debut album entitled “Hot Damn” in 2007 on First Word Records. Fast forward to today and The Haggis Horns are still going strong and as a horn section and do regular tours and pop sessions. But before the band releases their fifth full-length on their own imprint Haggis Records, the time has finally come for Malcolm to drop his debut solo album “About Time”,  a gorgeous set of soul-jazz instrumentals that tip their hat to the great sound of Blue Note.

Eufórquestra - While We Still Got Time

Eufórquestra (pronounced yoo-FOHR-keh-struh, think euphoria+orchestra) is energy and rhythm personified. An ever-evolving sound that has been influenced by music from all over the world with an emphasis on funk, pocket and groove. Today marks the culmination of over two years of writing and recording for Eufórquestra, and they came out with a bang on their newest collection of songs, While We Still Got Time, out today.  Fans of the band will notice a  fresh and powerful sound that is based on Euforquestra's signature "modern funk with vintage soul," but also infuses current topics in a way that has not been realized before with strong, compelling pieces. In early 2020 the band journeyed to The Democratic Republic of the Congo, where they fully created new friendships and new vision that Eufórquestra brought back home and forged into the album While We Still Got Time, as shown on Congolese pop star Papa Wemba cover "Show Me The Way." Make no mistake, Eufórquestra's honest sound and cultural influence is on display once again for their latest and greatest contribution to their venerable catalog that made its way from Iowa to Colorado more than a decade ago and has continued to grow across the world for nearly two decades.

Joel Sarakula - Island Time

Joel Sarakula is a European-based Australian artist who writes, produces and sings soulful pop, gazing out at a contemporary world through vintage glasses, vintage threads and long blond hair: think Ray Manzarek fronting a 70s soul band. His music is informed by a rich, 1970s-inspired palette, drawing on soft-rock, funk and disco influences – sunny, uptempo jams for darker times. He may look like a long-lost Gibb brother but at live concerts an irreverent sense of humour is always there just below the fringe. Born in Sydney, currently based in Las Palmas de Gran Canaria (via London) and international in outlook, Sarakula is a songwriter who has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway before finally establishing his career in the UK and Europe in 2012. After spending 10 years based in London, he moved to The Canary Islands at the height of the pandemic. His experiences of island life lead to the creation of his upcoming album Island Time (due Jan 20, 2023). His previous albums Companionship (2020), Love Club (2018), The Imposter (2015) and The Golden Age (2013) have racked up generous plays, often on rotation across national UK and European radio and got him noticed in The New York Times, The Independent (UK), The Irish Times, Shindig! (UK), Stern (Germany), Rolling Stone Germany, El Pais (Spain) and Sydney Morning Herald.

Harry Bartlett Trio - Wildwood

Wildwood is an exciting new release by the Harry Bartlett Trio. Rooted in the jazz tradition, this album draws heavily on American Folk and Western styles. The trio’s unique, focused identity offers a fresh path through the infinite potential of improvised music. The compositions on Wildwood were written and recorded on Gambier Island BC over a 6 month period. The rugged, isolated character of the BC coast permeates into the songs, lending qualities of reverence and peace. Through this process Harry was working closely with Toronto based guitarist and composer Geoff Young who lent his wide ranging experience and razor sharp focus as an artistic advisor. The Harry Bartlett Trio features Harry Bartlett (guitars), Caleb Klager (bass and modular synthesizer), and Harry Vetro (drum set). The Trio began in 2018 with the release of a debut EP, The Harry Bartlett Trio, and has since performed extensively, appearing in major venues and festivals across Canada. The Trio was awarded the TD Niagara Jazz Festival Jazz for the Ages Award in 2020. This album is a thoroughly crafted set of music that appeals not only to the dedicated forward thinking jazz listener, but to anyone interested in creative new music of a high caliber. Wildwood was released on November 18th 2022.

The Deplar Effect by The New Mastersounds

For over two decades, The New Mastersounds have maintained more than just a reputation of longevity. Instead, they’ve cultivated a rare balance of consistency, yet commitment to constantly evolving their sound. Forged out of the golden age of the modern funk and soul revival in 1999, the band has amassed a catalog of sixteen albums, embarked on countless world tours, and drawn in a broad audience through both their original material and collaborations with esteemed vocalists and remixers. The group’s seventeenth album The Deplar Effect captures the band on a high after a two-year hiatus of in-person engagements due to the COVID-19 pandemic. The band retreated to the brand new Floki Studios located down the valley of Eleven Experiences’ Deplar Farm in Troll Peninsula, Iceland to hunker down and immerse themselves in truly being in the zone.

Being surrounded by beautiful weather, snowcapped mountains, water, and the coziness of the brand new northern Icelandic studio had an “effect” on the band, as cited by guitarist and bandleader Eddie Roberts and further reflected within the wordplay of the album’s title. Fueled by their camaraderie and the energy in the room after their extended absence, there were several goosebump-inducing moments during the session. The album’s debut single “Gonna Get in My Way” was penned for the band by songwriter and vocalist Shelby Kemp of the Mississippi-based roots-rock group Royal Horses written from the perspective of a working musician. He elaborates that it’s an “inside looking out description of the struggles of finding and being one’s true self.” The track was then handed to vocalist Lamar Williams Jr. (son of the late Allman Brothers bassist, Lamar Williams) who joined the band in 2019 for their Billboard-charting album Shake It. While reflecting on the session, Williams notes, “We hit a groove where everyone got goosebumps and could feel it in their bones. The song goes into a spiritual realm with a line saying ‘I’ll try to fly if you do the same’ and it was reflective of what we were doing in the mountains with birds flying around and openness. It encapsulated the vibe of what was going on.”

Inspired by the harsh Icelandic climate, “Let Me In From The Cold” is a humorous song about a frosty relationship between a 'hard to get' woman and a man pleading for her affection also playing up to the Icelandic themes. Between Williams’ vocals and the band’s tight instrumental work and crisp turnarounds, the track is a highly danceable, uptempo nod to 60s soul reminiscent of Ray Charles and Mose Allison. “High on The Mountain” is inspired by classic Motown soul with some Curtis Mayfield-style bongos livening up the chorus. Roberts cites, “I wanted a contrast between the verses and choruses, reflecting the contract of the mountainous backdrop surrounding the studio." Keyboardist Joe Tatton adds, “The song has a hopeful, feel-good message about how things will come together. It was one of the first tracks written at Floki Studios.”

Longtime fans of The New Mastersounds’ instrumental quartet works will not be disappointed as the band honors their boogaloo and soul-jazz roots in “Watchu Want.” On every studio album to date, the band carries on a tradition of paying homage to The Meters with the first track of every album being bright and upbeat in the same spirit of the legendary New Orleans quartet. “Hot Tub” is a relaxed, mid-tempo groove allowing the pace to simmer and slow down, and relax.

From first to last note, the band revels in the experience of coming back together with the blank canvas of a new studio and living in the moment encompassed by the northern lights and eradicated from distractions. The Deplar Effect finds the band continuing to climb up the mountain top of never resting on laurels and their revolving doors of collaboration. It’s the culmination of their free-flowing musical vernacular, and adventurous spirit while at the same time, never completely reinventing the wheel. “At the point of release, you have to trust the process that the universe will accept it as you have delivered it—not try to be anything else but you,” says Williams. “We’re trying to come off with love and that’s the goal of each song.”