Johnny Britt | "After We Play"

In response to an interviewer’s question, legendary jazz trumpeter Miles Davis said, “I’ll tell you after I play.” That philosophy struck a note with urban-jazz trumpeter-vocalist Johnny Britt, who titled his fifth album “After We Play,” that dropped on Friday (March 17) on J-Jams Records. Britt wrote ten new songs and produced the thirteen tracks on which he plays with an array of luminaries. The collection starts off on top as the title cut featuring guitar star Peter White recently went No. 1 on two national singles charts.

The recent Presidential Lifetime Achievement Award recipient will launch his multi-genre album at two Los Angeles-area record release concerts: March 26 at The Venice West and April 6 at the Catalina Jazz Club.

Simultaneous to the instrumental single “After We Play” summitting the Mediabase and Smooth Jazz Network charts, Britt’s vocal ballad with Will Downing, “Butterflies,” entered the top 50 on the R&B singles chart and is soaring skywards.

Two years in the making, Britt describes “After We Play” as “an album of feelings, emotions, thoughts and imagination. I wrote, produced and performed every song from within. Every song was birthed out of a deep sense of love, compassion and sincerity. I love singing and I love playing the trumpet. That’s what you’ll hear when you listen to the album, which came together wonderfully.”

According to Britt, the title song, a sultry midtempo flugelhorn and guitar duet captured in this video (https://bit.ly/42hyyC7), sets up the entire album. There are many marquee moments to embrace from the album, including a dreamy version of “Goin’ Out of My Head” that finds Britt in the company of greats. He croons the song with Rock & Roll Hall of Famer Little Anthony who sang the original version with The Imperials with whom Britt has been singing as first tenor since 2012. Gracing the tune with cool electric jazz guitar is ten-time Grammy winner George Benson. SoulTracks recently world premiered the track, the type of collaborative recording that begs for Grammy attention.

The album opens with the twin trumpet powered “Ain’t Nothin But The Funk” spotlighting the horns of Britt and Tom Browne. Nine-time Grammy nominee Gerald Albright thumps his bass on “Summer Love,” an affair heated by Kashan’s mid-cut rap. “Ocean Waves” washes over like a sensual caress, thanks to Britt’s sultry voice and muted trumpet along with sinewy bass and Piccolo bass work from Blair Bryant. The album’s second remake is a haunting take on the Bacharach & David classic “Walk On By,” given an ethereal treatment on which Britt handles all the vocals and instrumentation except for drums. Ricky Peterson adds piano, organ and strings accoutrements to illumine the positive affirmation that is “Hold On Be Strong.” Billboard hitmaker Nils teams with Britt for “Let’s Do This,” an empowering horn and guitar instrumental that bodes to become a chart topper. “Love Paradise” is a heavenly slice of the best of Britt: a funky R&B groove, a splash of contemporary jazz nuance, and a vibrant pop hook. Nils reappears on “Midnight,” but it’s Britt’s flugelhorn that shines brightest. The seductive “More Love” is an amorous late-night mood setter. “After We Play” closes with an instrumental version of “Love Paradise.”  

Britt will soon share his story in the autobiography “The Soloist.” He grew up “an inner-city kid” in Cleveland where he was in a band while in junior high school with a young drummer named Arsenio Hall. The multi-instrumentalist studied abroad at the prestigious Conservatoire de Versailles under the tutelage of Roger Delmotte, first trumpeter of the Paris Opera. After returning Stateside, The Temptations’ Otis Williams made Britt the youngest musical director ever for the iconic Motown Records vocal group. That led to Britt coproducing the music for the Emmy-winning miniseries “The Temptations.”

After the move to Los Angeles, Britt landed his own Motown record deal in 1995 for his group Impromp2, which recorded four albums. Always desiring to be a soloist, Britt finally made it happen in 2012 by releasing his debut album, “Feels So Good.”

“I loved singing in groups, but deep in my heart, I always wanted to stand alone in the spotlight in front of that microphone - just me, my voice and my trumpet,” said Britt.

In addition to his solo catalogue, Britt has written three No. 1 Billboard hits for saxophonist Boney James as well as songs for Peabo Bryson, Rick Braun, Euge Groove, Paul Brown, Jeff Golub, Jessy J and The Temptations. He played trumpet on the big screen in Academy Award-winner “La La Land” and was hired by two-time Oscars and four-time Grammy winner Hans Zimmer to be the trumpet soloist for the Oscar nominated “Hidden Figures.” 

Britt will embark on a three-month U.S. concert trek this summer with Little Anthony on the Happy Together Tour. Before then, he will support the release of “After We Play” on the following dates:

• March 26 -The Venice West - Venice, CA
• March 30 - Middle C Jazz Club - Charlotte, NC
• April 1 - The Tin Pan - Richmond, VA
• April 6 - Catalina Jazz Club - Hollywood, CA                     

The “After We Play” album contains the following songs:

• “Ain’t Nothin But The Funk” featuring Tom Browne
• “After We Play” featuring Peter White
• “Butterflies” featuring Will Downing
• “Summer Love” featuring Gerald Albright and Kashan
• “Ocean Waves” featuring Blair Bryant
• “Walk On By”
• “Hold On Be Strong” featuring Ricky Peterson
• “Let’s Do This” featuring Nils
• “Goin’ Out of My Head” featuring Little Anthony with George Benson
• “Love Paradise”
• “Midnight”
• “More Love”
• “Love Paradise” (instrumental)

Eric Reed | "Black, Brown, & Blue"

Think of the songwriters whose work comprises the canon of jazz standards, and names like George Gershwin, Richard Rodgers, Irving Berlin, and Cole Porter immediately come to mind. On his new album, Black, Brown, and Blue, pianist/composer Eric Reed argues for a revision of that canon to focus on Black and Brown composers, songwriters whose work originates within the jazz realm rather than on the Broadway stage. 

Available today, via Smoke Sessions Records, Black, Brown, and Blue features music written by jazz masters like Duke Ellington, Thelonious Monk, McCoy Tyner, Wayne Shorter, Benny Golson, Horace Silver, Buddy Collette, and Buster Williams, along with jazz-conversant pop/R&B songwriters Stevie Wonder and Bill Withers. In addition, Reed and his bandmates on this thrilling session – bassist Luca Alemanno and drummer Reggie Quinerly – each contribute a new piece of their own. 

“Historically, many of the contributions and works of Black and Brown people have either been destroyed, devalued, or appropriated,” Reed writes in his liner notes. As he elaborates, “There has been a back-and-forth battle with regard to who controls the music, who runs the music, who sells the music, and what it should sound like. It basically comes down to a lack of representation.” 

Reed points to the early stages of his own career when he was a member of that highly touted generation known as the “Young Lions.” Without dismissing the music created during that period, which he acknowledges was executed by a staggeringly talented group of artists, he regrets the narrow stylistic vision and the carefully controlled image that he was “coerced” to present to audiences. “There was an agenda to create a narrative around jazz that was far too often skewed and extremely antagonistic,” he says.  

“When I first started my path in this music, it was under a different, very revisionist type of energy. Where I am now in my life, I'm only concerned about conveying the most personal and heartfelt ideas through my music. I’ve found myself becoming so much more open.” 

That openness extends beyond the realization of Reed’s musical choices and into his personal life. Black, Brown, and Blue marks the first album that he has recorded while being completely open about his bisexuality, resulting in what he calls his most “autobiographical” release to date.  

“It's time for me to just go ahead and be completely authentic in every aspect of my life,” he insists. “That includes, but is not limited to, being more open about my sexuality and proactively moving into spaces connected with the LGBTQ+ community. I think that would have happened in spite of the political climate in this country and the pandemic, but it’s been hurried along.Those aspects of my life were becoming more bold and more broad, and I could no longer keep them on the margins.” 

There’s nothing about the choice of material or the performances on Black, Brown, and Blue that mark it explicitly as a “coming out” record or a political manifesto. What shines through on these performances is the deep well of emotion and feeling that Reed mines in his playing, his expression, and his ability to communicate on a profound level with his new trio. 

Reed points to the example of Art Blakey, Betty Carter, and Elvin Jones, all jazz giants who also took seriously their roles as mentors, as models for his new band with Alemanno and Quinerly. “Working with my peers is wonderful,” the pianist says. “But after a certain point, just like in any relationship, the growth begins to diverge. Art constantly moves, and I know that if I invest my time in younger musicians, they'll be able to absorb that experience and carry it further.” 

Reed’s solo improvisation “Black, Brown, and Blue” opens the album of the same name, providing a free-flowing thesis statement that touches on myriad aspects of the tradition from which the pianist draws while being a lively depiction of his singular voice. Despite his complicated relationship with the church in which he was raised, Reed had scripture in mind while playing the piece – specifically, Hebrews 12:1, which alludes to “such a great cloud of witnesses.” 

“As I was playing I was envisioning that cloud of witnesses looking down and cheering me on,” Reed explains. “I could see my family and neighbors, and all the people I’ve admired: Art Blakey, Betty Carter, Gerald Wilson, Dexter Gordon, Harold Mabern, my good friend Mulgrew Miller. My father. I could see their faces and I could feel their validation. I could sense themseeing me and encouraging me to keep on going.” 

Reed’s roots in the gospel church also come to the fore on two vocal pieces on the album, both of which feature acclaimed gospel singers. Bill Withers’ “Lean on Me” features veteran minister and vocalist Calvin B. Rhone, a mentor to Reed whom the pianist met while still a teenager. David Daughtry, whose soaring voice graces Stevie Wonder’s classic “Pastime Paradise,” is a singer of traditional and contemporary gospel, actor, and worship leader at West Angeles Church of God in Christ in Los Angeles. 

It was important to Reed that Alemanno and Quinerly be represented as composers as well as musicians on the album, scorning the term “sideman” as reductive. The bassist contributes the tender “One for E,” while Quinerly provides the yearning ballad “Variation Twenty-Four.”  

The remainder of the album comprises jazz favorites given Reed’s own individual twist. Monk’s “Ugly Beauty” takes on a fox-trot feel, while Wayne Shorter’s “Infant Eyes” shifts to a gospel-inflected dirge. Ellington’s “I Got It Bad and That Ain’t Good” wallows in the deepest of blues feeling and Benny Golson’s “Along Came Betty” is brisk and optimistic. Buddy Collette’s “Cheryl Ann” and Smoke Sessions labelmate Buster Williams’ “Christina” offer two gorgeous and wistful portraits. Reed pairs McCoy Tyner’s “Search for Peace” with Horace Silver’s “Peace,” quoting Ornette Coleman’s own “Peace” at the conclusion of the latter to complete a triptych of hope for the future. 

Reed calls Black, Brown and Blue, “the culmination of my life thus far. I'm freer than I've ever been in my personal life, and I'm freer than I've ever been in my music. I'm accepting who I am. I love who I am. And as I continue to evolve – my artistry, my sexuality, and my overall humanity – my music will continue to become more and more personal.”

L.Dre | "LoFi Symphony"

Introduced by Stephan Kunze

A new music genre has emerged in the last few years, mainly thanks to streaming playlists: LoFi beats are chilled instrumental hip-hop tracks whose hazy, hissing aesthetic makes them sound as if they’ve been lifted from well-worn cassette tapes. LA-based producer L.Dre is a true master of this style, but in making his album LoFi Symphony for Deutsche Grammophon he rose to a completely new challenge by blending LoFi beats with high-quality orchestral recordings of classical music. His bold combination of two musical worlds, involving a conscious clash of styles, has led to impressive results on an album that’s more than just the sum of its parts.

While growing up in Los Angeles, L.Dre learned to play various instruments, including guitar and drums, but back then, skateboarding and hip-hop dominated his life. Although he studied music production in college, YouTube became his most important teacher. Inspired by his early heroes, hip-hop producers such as J Dilla or Kaytranada, he started uploading instrumental tracks to streaming platforms when he was still a teenager. His chill beats were influenced by the classic 90s boom bap style and fitted a trend that was beginning to appear in certain playlists at the time. His generation were using LoFi beats primarily as background sounds – music to study to, for example. 

As a digital native, L.Dre has used social media to build his own brand right from the start. Through Instagram, YouTube and TikTok, he regularly shares music software tips and hacks with his followers, as well as giving them behind-the-scenes glimpses into the day-to-day life and working routines of a music producer. This educational side of his content makes L.Dre stand out from a crowd of faceless LoFi producers. His strong work ethic, combined with his laidback, approachable personality, has earned him an ever-growing following on all channels.

Always open to a challenge, when Deutsche Grammophon approached L.Dre and suggested the idea of mixing LoFi beats with classical music, he leapt at the opportunity. The first step was to select the right music from the historic label’s vast catalogue. Debussy’s Clair de lune and Beethoven’s “Moonlight” Sonata were already among the producer’s personal favourites, and he decided to expand his soundscape by adding Satie’s Gymnopédies and Vivaldi’s Four Seasons. As well as choosing peaceful, melancholic pieces which obviously lent themselves to a LoFi treatment, L.Dre also deliberately went for some more upbeat works to add variety to the new album.

His main aim was “to pick a few truly iconic pieces and re-tell their story in a new way, my very own way”. He adds, with a laugh, “And I wanted all my producer friends to ask themselves how I actually got clearance for these tracks!”

Producing LoFi Symphony turned out to be a more complex process than it would be for a standard LoFi project. L.Dre began by sampling his choice of music to get a raw version of the beat, then the “new” composition was transcribed and handed over to a carefully chosen ensemble of orchestral musicians to re-perform. The producer then finalised each track with meticulous attention to every last detail. What makes LoFi Symphony so innovative, so full of colour and interest, is the finely balanced tension between the LoFi aesthetic and HiFi recordings. In L.Dre’s hands, strings are mixed with the vintage sounds of an original 1920s Steinway and with the genre-typical vinyl crackle and muted drum sounds.

To get that mix and balance right, L.Dre had to put all his musical instinct and intuition to work. Instead of slicing up his sample sources beyond recognition, he embraced the big melodies of the classical originals. Both concept and execution have worked to perfection: LoFi Symphony not only has a gloriously timeless sound, it takes LoFi music beyond its customary background-music status by encouraging active listening.

In working outside his comfort zone for this project, L.Dre has become an even better musician. “This is definitely different from everything I ever did before”, he says, before summing up the unique nature of this album. “Actually, I don’t think something like this has ever been done before.”

Mette Henriette | "Drifting"

After Mette Henriette’s critically acclaimed, self-titled first recording comes Drifting – an album pervaded by trio conversations of idiosyncratic and original expression. Mette: “Drifting vividly captures a moment in time. I can hear everything still growing – in motion – on the record and how present my imagination is. Prior to the recording, I had a lot of time to sit down and focus on this new music. From the very beginning, I wanted to create material that could grow, expand and contract in different formats.”

With Johan Lindvall returning on piano, new addition Judith Hamann on cello and herself on saxophone, Mette’s chamber musical elaborations prove of a concentrated and exploratory quality, marked by subtle yet intense interaction. Motifs and recurring patterns crystallize and reveal a concise, intricate narrative. The saxophonist-composer explains how “this album is in movement. It’s on its way somewhere and has its own pace – its creative agency is fundamentally different from what I’ve done previously.” 

The difference not only manifests in the change of instrumentation, but moreover in the fabric and compositional design of this collection of songs. At once organized programme with a compelling instrumental narrative and playground for impulse and improvisation, Drifting connects to the deeper processes within Mette’s musical consciousness. Illuminating the mechanisms behind her musical inventions and touching upon the diction of her language, Mette notes: “for me, a very important tool in the compositional process is to let ideas mature to the extent that they start living their own lives. Then things just spontaneously come to the surface in different pieces and start interconnecting. And I like playing with prepositions in music. Shedding light on different things from different perspectives, playing with foreground and background, repositioning elements and flipping arrangements. To me, that’s how different improvisational opportunities come to life.”

Some of those interconnections can be traced between “Across the Floor” and “Chassé”, found in the pieces’ correspondingly hesitant pulses and likeminded melodic themes. Or between “I villvind” and “Rue du Renard”, based around their shared sweeping piano arpeggios and their similarly urgent dynamic waves. Elsewhere, the trio presents its rich pallet of timbres within far-reaching, un-repetitive structures, as in the title track, “Oversoar” or “Indrifting You”, abound with steadily shifting tonal tensions, Hamann’s defiant cello flageolets, divergent chordal piano frames and Mette’s distinctive, wide-ranging saxophone explorations.

Recorded at the recently relocated Munch Museum in Oslo, the album was completed at Studios La Buissonne in close collaboration with Manfred Eicher, who produced the album and, as Mette stresses, whose “intuitive and complete understanding” of her music significantly influenced the shape and sound of Drifting. 

 

KEA | "We Made It Thru"

Empowerment and transformation are key themes that come up repeatedly in neo soul singer-songwriter KEA’s poetic storytelling lyrics. While there are clear stylistic changes heard on her forthcoming single, the celebratory up-tempo “We Made It Thru,” her message – and her brand – remains the same: anyone can conquer their circumstances and challenges with perseverance and a grateful heart. The new single that KEA wrote drops March 31, shortly after her two concert dates in Austin during SXSW.  

The singles KEA previously released – from the smooth and soulful caress of her 2017 debut, “iLove You,” written when her young daughter was battling a kidney disorder; to her defiant “Not My Friend,” penned about a woman breaking free from an abusive relationship; to her powerful testimony in the wake of George Floyd’s murder, “Holla If You Hear Me”; to last year’s encouraging “Turn It Around,” written to inspire persistence and summon the courage to overcome bad choices of the past – were all midtempo soul-jazz grooves. The triumphant “We Made It Thru” lifts the tempo to dance club intensity with inspirational gospel tones – rousing church organ and all – and thankful lyrics urging determination, tenacity and resilience.        

“My goal was to make the song about a woman's need for healing and self-love. The reality is that we face unfortunate happenings every day and yet find a way to make it through. I purposely made it ‘We Made It Thru’ because I’m making music that we relate to ‘together.’ This isn't a KEA thing, but an ‘our’ thing and an ‘us’ thing,” said the Pittsburgh-based KEA who recently lost her mother.

“I consulted with my mother before she passed and added biblical context to the lyrics, reminiscent of how the bible speaks of signs of the times in Matthew 24.”

KEA is astute and keenly observant, which informs the lyrics that she wrote with contributions by Lem Springsteen. In addition to producing the track for Bread & Butter Productions, Butter is featured on keyboards, drums, drum programming, percussion and backing vocals. David Delhomme (keyboards, organ and lead synth) and Mark Bowers (guitar and bass) complete the lineup.

“‘We Made It Thru’ speaks of how everything has changed. We went from being principled to having zero filters. People say and post on social media whatever they want without giving any thought or care to how their words impact others or society. However, the ‘good times keep us still and alive.’ That verse in the single is meant to encourage us not to lose hope and find the joy that is there where there is pain. We are always ripping and running and cannot hear from God in a hurry or see/feel what’s happening around or within us where most of the work needs to be done. I encourage stillness and to keep plugging away,” said KEA who will take the stage twice during SXSW for performances at Flamingo Cantina on March 16 and Smokey Greek Cajun Bar & Grill on March 18 at events hosted by RhythmandSoulRadio.com.

A frequent performer on the Pittsburgh scene, ever since KEA started issuing singles, she’s received radio spins and praise nationally, including from respected R&B outlet SoulTracks, which has consistently championed her singles and videos, and internationally via top 20 chart appearances on the UK Soul Chart and going top 40 on the DRT Global Independent Airplay Chart.

Considering herself to be a philosopher at heart, KEA began by writing poetry, turning poems into songs. Growing up in a musical household instilled a love of music. She started singing, initially studying jazz vocals, the nuances of which remain in evidence in her recordings today. What KEA experienced growing up, as a young mother and as an adult is also present in the stories she tells in her songs. It makes her a unique and authentic communicator as an artist.

“What makes me relatable is my trials. Without any extensive music training or degrees, and no connections to industry powerbrokers or mainstream artists, who I do have a connection with is ‘the people.’ Your everyday person who works 12-hour shifts, struggling financially, single parents, low-income housing recipients, childhood trauma, suffering from low self-esteem, mental health problems, homelessness, and people in unhealthy relationships who are now learning boundaries and seeing their worth - you name it. Those are my people and I know how to reach them because I've been them.” 

 

Bob Coate | "Sasha"

There’s a bit of mystery surrounding multi-instrumentalist Bob Coate. You won’t find his picture on his single covers or on his website. When you try to pin him down to name his primary instrumental voice, he declines to name just one. While he presents clear marketing and branding challenges, Coate’s perspective – which he himself admits is naïve as a new artist who emerged on the instrumental pop-jazz scene last year – is free from limitations, restrictions and expectations. He enjoys and exercises his freedom to explore his artistic muse while maintaining an air of mystery on the newly released single, “Sasha,” which he wrote and produced with SONIX (David Bowie, Lauryn Hill, Sean “Diddy” Combs). 

On the midtempo R&B groove, Coate plays haunting and lyrical flugelhorn verses before yielding to SONIX’s vibrant melodic keyboards and Fender Rhodes choruses. Johnny "JTwo" Johnson added guitar while bassist Jordan "Jo Peezy" Yussef anchors the rhythm.

“‘Sasha’ is based on a tune that was floating around in my head for many months. Every time I sat down at the keyboard, I would experiment with it some more. You wouldn’t believe how many preliminary versions I recorded and then discarded. Teaming up with SONIX helped push the tune to completion. I think we were able to give the track a dreamy, surreal feel to it,” said Coate.

“Sasha” has instantly been embraced by fans who made it a top ten single on the Smooth Global Listener Countdown. Beyond U.S. airplay, the single is garnering spins internationally, including London Soul Radio and on radio stations in Spain, Australia, Poland and Panama.

On Coate’s previous nine single releases dating back to his 2021 debut, “Super Smooth,” he did everything himself: writing, producing, performing, recording, mixing, mastering and even designing the cover art. “Sasha” is the first of two singles that he recorded with SONIX.

“I am very grateful to have had the privilege of working with world-class producer and musical powerhouse SONIX. This was my first time working with a producer or guest artist,” said Coate, a Boston-area native who is now based just outside of Washington, DC.

“Writing and producing ‘Sasha’ with Bob was a great compromise of who we are as creatives. I enjoyed his input and blunt honesty. We paid great respect to the composition, which blends a color palette of yesterday and today to paint a beautiful picture of ‘Sasha,’ a lady of beauty that lets the listener define her,” said SONIX, who also collaborated with Coate on a high-energy Latin jazz single called “Mamba Rosalita” that is slated to drop in May.  

While SONIX infers that the inspiration for “Sasha” is a woman, Coate says not so fast.

“Most people assume ‘Sasha’ is named after my wife, or girlfriend, or daughter – but no,” he said with a Cheshire grin.  

“I’ll let the listener come up with their own interpretation. That’s part of the magic of music, especially instrumental jazz. Each listener can hear something and use their imagination to come up with their own imagery. For all anyone knows, it could be a song about a family member’s cat, but I’ll never tell!”

Jimmy's Jazz & Blues Club Features 3x-GRAMMY® Award-Winner & 9x-GRAMMY® Nominated Guitar Icon JOHN SCOFIELD

Jimmy's Jazz & Blues Club Features 3x-GRAMMY® Award-Winner & 9x-GRAMMY® Nominated Guitar Icon JOHN SCOFIELD in a Rare Solo Performance on Thursday March 30 at 7:30 P.M. From 1982–1985, John Scofield toured and recorded with Jazz Legend Miles Davis. His Davis stint placed him firmly in the foreground of jazz consciousness as a Player and Composer. Scofield contributed tunes and guitar to three of Davis's acclaimed albums, Star People (1983), Decoy (1984), and You're Under Arrest (1985).

JOHN SCOFIELD took up the guitar at age 11, inspired by both Blues and Rock players. He attended Berklee College of Music in Boston. After a debut recording with Gerry Mulligan and Chet Baker, he was a member of the Billy Cobham-George Duke band for 2 years. He recorded with Charles Mingus in 1976 and replaced Pat Metheny in Gary Burton's quartet. In 1976, Scofield signed with Enja, which released his first album, John Scofield, in 1977.

At the beginning of the 1990s, Scofield formed a quartet that included GRAMMY® Award-Winner & 14x-GRAMMY® Nominated Saxophonist Joe Lovano with whom he recorded several albums for Blue Note. Time on My Hands (1990) showcased Scofield's guitar and Mingus-influenced writing. The other albums Scofield released on Blue Note with Joe Lovano were Meant to Be (1991) and What We Do (1993).

In 1992, Scofield released Grace Under Pressure, featuring GRAMMY® Award-Winning Guitarist Bill Frisell. In 1994, Scofield released I Can See Your House from Here with NEA Jazz Master & 20x-GRAMMY® Award-Winner Pat Metheny.

Scofield recorded the 1997 album A Go Go with avant-garde jazz trio Medeski, Martin & Wood. In 2006, Scofield released Out Louder, his second collaboration with Medeski, Martin & Wood. The group, known collectively as MSMW, toured worldwide in 2006 and 2007.

In 2016, Scofield won his first GRAMMY® Award for "Best Jazz Instrumental Album" for the album Past Present – which was also Nominated for "Best Improvised Jazz Solo" for the song "Past Present". In 2017, Scofield won his second and third GRAMMY® Awards. He won a GRAMMY® Award for "Best Jazz Instrumental Album" (Country for Old Men) and another GRAMMY® Award for "Best Improvised Jazz Solo" for the song "I'm So Lonesome I Could Cry" (from the Country for Old Men album).

Innervision Records Celebrate A Shiny Silver Anniversary

Consistent excellence in artistry combined with passion, innovation and imagination have been the hallmarks of Innervision Records during its 25 years. The Southern California-based imprint that specializes in shades of jazz spanning groove, smooth and chill along with neo soul and world music continues to ride high on the Billboard charts after their artists Blake Aaron and Will Donato scored No. 1 singles in 2022 and Kim Scott collected the highest honor: Billboard’s Smooth Jazz Song of the Year.

Aaron was the first artist inked to Innervision Records thus there’s something special about the guitarist continuing to be a part of the label’s storied successes. His “Dreamland” occupied the No. 1 spot on five charts  - Billboard, Groove Jazz Music, Mediabase, Radiowave and Smooth Jazz Network - simultaneously last summer. The cherry on top is that Aaron is the featured soloist on Scott’s year-end chart-topper, “SHINE!”

"As one of the first artists on Innervision Records, I've had the honor of watching Innervision Records grow from a very small label into a major player in the industry with dozens of amazingly talented artists and become a powerhouse in the genre. It is exciting to see Innervision Records all over the Billboard charts each and every week, and most of the time, at the top. As one of the most artist-friendly labels out there, Innervision Records is truly a ‘family’ that I'm honored to be a part of,” said Aaron who has captured the No. 1 position on the Billboard singles chart for Innervision Records five times.

With roots in classical and jazz, Scott’s success has come by crafting a groove-laden mélange of urban, jazz, soul and pop music. The flautist has notched Billboard No. 1 singles in the past yet “SHINE!” accomplished the rare feat of becoming the most played song of the year without hitting the peak position. With an MVP performance by labelmate Aaron’s electric jazz guitar, the title cut of Scott’s “SHINE!” album is a shimmering and sophisticated blend of R&B and contemporary jazz.  

“I’m so honored that “SHINE!” was the most played smooth jazz song of 2022 and that it was named Billboard’s #1 Song of the Year. It was truly a labor of love to co-write the song and I was instantly inspired to write the melodies for the verses and chorus. They flowed from my spirit almost effortlessly. It was like a bright light was shining on me as I wrote it, bringing me energy, joy, inspiration, and hope. Featuring Blake Aaron on the track made the song shine even more and he did a brilliant job with his guitar solo! I’m so proud to have played a part in this achievement for Innervision Records, my team, and all the artists involved with the song. I plan to continue to let my light shine so listeners can find joy and inspiration in my music,” said the Birmingham, AL-based Scott.

For the fourth consecutive year, Innervision Records placed third on Billboard’s Smooth Jazz Label of the Year tally on the strength of Scott’s massive airplay and No. 1 singles by Aaron and saxophonist Donato, the latter who recently vaulted into the top spot with his soul-powered single “Good On You.” Other Innervision Records artists to enjoy Billboard top 20 success in 2022 were JJ Sansaverino, Cal Harris Jr. and Tom Braxton.

Innervision Records will celebrate its silver anniversary at their tenth annual After NAMM JAMM on April 16. Many of the artists on the label’s roster are expected to take the Spaghettini stage in Southern California for the popular post-NAMM show jam session. 

“We’re excited to bring everyone together for our Innervision Records After NAMM JAMM once again.  Originally starting out as a get together for our artists and their musician friends to come out and jam during the heavily attended annual music industry convention, the After NAMM JAMM has evolved into an exciting opportunity for many of our Innervision Records family members to get together and celebrate the label, our shared successes, the fans and, most importantly, our friendships face to face,” said Steve Belkin, Innervision Records’ general manager.

Independent labels come and go fast in today’s music industry thus reaching a 25th anniversary is a testament to Innervision Records’ vision and execution. The label eagerly anticipates celebrating the milestone with their artists at the After NAMM JAMM. And while they are enthused by their accomplishments to date, they’re energized about what’s ahead.   

“To think Innervision Records has been around for 25 years is pretty crazy.  What started as a very tiny independent one-artist label has developed into an eclectic, creative and artistic boutique label featuring artists from around the country. I'm very proud to be a part of Innervision's growth and success, building a distinct brand. Watching several of our artists go from emerging to chart-topping artists are like proud parent moments. The artists deserve the credit, but you can't help but take some pride in their success,” said Belkin. 

Innervision Records’ A&R and radio promotions executive Adam Leibovitz concurs, acknowledging the role fans have played in the label’s accomplishments.

"Innervision Records has endured and grown into a major source of talent and I am so proud of what we have accomplished. I’m proud of our artists who create incredible music, and, of course, grateful to all of the fans who have been so loyal and so dedicated to what we have built. I am amazed when thinking about where Innervision Records started, beaming with pride over what it has become, and most of all, filled with excitement over what it will be!" 

New Music Releases: Jazzanova, Joe Chambers, Astrud Gilberto, Josh Lawrence

Jazzanova - Beyond The Dream (musclecars Reimaginations) / Face At My Window (Kyoto Jazz Massive Remixes) 

Taken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project. This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars. Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience. Musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. Musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023. Both remixes showcase the importance of DJ Amir’s unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems – Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.

Joe Chambers - Dance Kobina

A fresh new chapter of the long legacy of drummer Joe Chambers – a key instrumental force in the hipper reaches of the Blue Note label in the late 60s, but an artist who seems to finally be catching up with his own work as a leader after all these years! Joe is every bit as wonderful here as on his famous recordings, and his more recent dates for Blue Note – a wonderfully inventive percussionist, and an inherently rhythmic player who's got this ability to spin sounds out in all these different directions, yet always make things feel wonderfully unified too. His group on the set has excellent vibes from Michael Davidson, almost recalling Joe's work with Bobby Hutcherson – and other players include Caoilainn Power on alto, Andres Vial on piano, Eli Miller Maboungou on ngoma drums, and Ira Coleman on bass. Titles include "Dance Kobina", "Intermezzo", "Gazelle Suite", "City Of Saints", "Moon Dance", "Power To The People", and "Caravanserai". ~ Dusty Groove

Astrud Gilberto - Beach Samba (180 gram pressing)

A great album from Astrud Gilberto – one that has her pushing past the simple bossa of early years, running through a range of 60s styles that all sound great – really opening up, finding new confidence in her vocals, and bridging a few different musical worlds in the process! Arrangements are by Deodato and Don Sebesky – and handled with this growing sophistication that holds on to bossa elements, but elevates the style with some of the cooler late 60s touches we love on Verve Records – all at a level that's completely sublime, and which does really wonderful things for Astrud's vocals. There's still plenty of Brazilian tunes in the mix – like "Oba, Oba", "Canoeiro", "Bossa Na Praia", "Nao Bate O Corocao", and Marcos Valle's great "The Face I Love" – and the album also features great versions of "Misty Roses", "You Didn't Have To Be So Nice", and "Stay".  ~ Dusty Groove

Josh Lawrence - And That Too

Trumpeter Josh Lawrence has a nicely compressed approach to his trumpet – a sound that's sometimes got the more focused vibe of an early Miles Davis, along with all the sense of sparkle that might imply – yet with a delivery that's got a lot more space between the notes, and which really catches the best sort of energy from his hip bandmates on the date! Willie Morris III provides some sharper lines on tenor, and the rhythm work is wonderfully warm and fluid – with Art Hirihara on piano, Boris Kozlov on bass, and either Rudy Royston or Jason Tiemann on drums. Lawrence contributed some great original material to the record – "Left Hanging", "Cantus Firmus", "North Winds", and "Black Keys" – and Morris contributed the cuts "Grit" and "Hole In The Wall". ~ Dusty Groove

Brooklyn based avant-garde experimental jazz trio Nite Bjuti releases "Mood (Liberation Walk)"

"Mood (Liberation Walk)" is the new single  from Brooklyn based avant-garde experimental jazz trio Nite Bjuti. The trio, composed of acclaimed singer-songwriter Candice Hoyes, Grammy-nominated SoundChemist and beatmaker Val Jeanty, and bassist Mimi Jones, contemplates existential themes such as maturity, coming of age, and deep physical, mental and spiritual change in their highly-anticipated single, which precedes their full-length album release on Friday April 14, 2023.

”What good is freedom if you don’t really feel free? Black girlhood maturation brings a range of evocative contradictory experiences," confides Hoyes, and "in 'Mood (Liberation Walk)' we express the sudden sensation of a girl jumping/jumped into puberty, roped into a new emotional reality, physicality and societal positionality. As explored in the music video, she jumps through the portals of her own design right until the street lights flicker. Jumping is tied to shared childhood experiences, embodies connectivity and the chasmic leaps of growth in the Black womanly experience."  The music video is directed by Candice Hoyes who is a mixed media artist.

The Afro Caribbean three piece crafts and produces an intentional and intoxicating fresh jazz meets electronica sonic experience complete with hypnotic vocals, Haitian inspired drums, and soul penetrating basslines. The accompanying music video was directed by Candice Hoyes who is a mixed media artist.Together, Nite Bjuti has performed at the nationally recognized 'Jazz at Lincoln Center' and has received acclaim from NPR's WBGO, Jazz Times amongst others. 

"Percussionist/beat maker Val Jeanty, vocalist/sampler controller Candice Hoyes, and double bassist Mimi Jones were the biggest revelation of WJF (so far), creating dense sound vistas and pure improvisations." Jazz Times, February 2020  

Nite Bjuti is Candice Hoyes, Val Jeanty and Mimi Jones, an evocative improvised trio of Afro Caribbean artists using electronics, vocalism, bass, Haitian drum rhythms, sampling and spoken word to cultivate their narrative journey. They are UMEZ Arts Engagement Grant recipients for their 2022 mixed media installation commissioned by the Schomburg Center for Research in Black Culture, and 2020 recipients of the NYC Women's Fund in Jazz Music to fully fund their forthcoming debut album. 

As inspiration, Nite Bjuti draws from a centuries old Haitian folklore called "Night Beauty,” about a girl whose bones begin to sing in her afterlife, her spirit seeking justice. Nite Bjuti has recently played Nublu Jazz Fest, NYC Winter JazzFest, WBGO live broadcast performance, The Schomburg Center, and Jazz at Lincoln Center. Internationally, they envision their music from concerts at electronic and jazz music venues, museums, cinema and dance and visual art installations. Nite Bjuti plays to rediscover the buried Diasporic beauty in the world, transcendent across generations. Intentionally, they improvise to build layers of intimate community both inside the band and with its audiences. Nite Bjuti debuted at Jazz at Lincoln Center as part of celebrating 2018 International Women’s Day.

New Collections from Randy Crawford, Dionne Warwick & Howard Hewitt

Randy Crawford - You Might Need Somebody – The Warner Brothers Recordings 1976 to 1993 (3CD set)

A really well-done collection of work by Randy Crawford – one that not only gets at that unique place she holds in soul music, but also one that shows just how much she kept growing as the years went on! Randy's voice was maybe first exposed to folks for her famous work on The Crusaders' "Street Life" – but even before that, she was emerging as one of the elite in a new generation of sophisticated soul singers – equally well-skilled in jazzy expressions and soulful styles, and able to bring a new level of maturity to the music from the late 70s onwards! This great package traces Randy's growth as a solo artist over the course of many albums for Warner Brothers – and also includes some duets, live material, and compilation cuts – really getting at the importance she held in the field at the time. There's a whopping 57 tracks on 3CDs, complete with a big booklet of notes – and titles include "Don't Wanna Be Normal", "Blue Flame", "I Stand Accused", "Same Old Story", "Tender Falls The Rain", "Gonna Give Lovin A Try", "Ain't No Foolin", "Everything Must Change (live)", "Street Life (edit)", "When Your Life Was Low", "One Day I'll Fly Away", "Time For Love", "Your Precious Love (live with Al Jarreau)", "Windsong", "We Had A Love So Strong", "Imagine (live with Yellowjackets)", "All It Takes Is Love", "Single Woman Married Man", "Last Night At Danceland", "Just A Touch", "He Reminds Me", "Knockin On Heaven's Door", "Almaz", "I Let You Walk Away", "Bottom Line", "Cigarette In The Rain", and lots more! ~ Dusty Groove.

Dionne Warwick - Sure Thing – The Warner Brothers Recordings 1972 to 1977 (6CD set)

An incredible run of music from Dionne Warwick – and a set of work that's very different than the Burt Bacharach material from the 60s, which his how most people know Dionne! These tracks are nicely different, and mark Warwick as a hell of a soul singer in the best 70s tradition – stepping into some great new territory at Warner Brothers, in a way that opens up her sound, makes her sound more mature, and really pushes past some of the Bacharach territory – great in its time, but getting a bit stale until Dionne changed things up with these tracks! Bacharach is still part of the proceedings at times, but comes across in a nicely different way – and Dionne also works with legendary soul producers, including Thom Bell and Holland-Dozier-Holland – both studio forces who really change things up. The set features all the full albums, plus lots of bonus tracks too – a massive 86 tracks, with albums that include Dionne, Just Being Myself, You Are A Song (73/74 Sessions), Then Came You, Track Of The Cat, and Love At First Sight – plus bonus tracks too!  ~ Dusty Groove.

Howard Hewett - I'm For Real – The Elektra Recordings 1986 to 1992 (I Commit To Love/Forever & Ever/Howard Hewett/Allegiance/bonus tracks) (4CD set)

Howard Hewett may have came a bit late on the scene in 80s soul – but by the end of the decade, he really left his mark – as you'll hear on these four classic albums, served up with lots of bonus tracks too! First up is I Commit To Love – an 80s classic from Howard Hewett, and just the kind of set that made the singer one of the freshest voices in soul at the time! Hewett's vocals are lean and right on the money – perfectly suited to fit the 80s groove mode of the backings – especially the bubbly, bouncy kind of cuts that were always Howard's catchiest numbers – and which, honestly, should have had him crossing over much bigger at the time! Beats and keyboards glide along nicely throughout – and titles include "Stay", "Say Amen", "I Got 2 Go", "Last Forever", "I Commit To Love", "Love Don't Wanna Wait", and "Let's Try It All Over Again". Forever & Ever has a nice degree of crackle all the way through – that snappy, soulful style that Hewett did so well back in the day – working here as almost a one-man powerhouse on production and arrangements too! The tunes are catchy, but never too crossover – and Hewett has this way of bringing in a subtle drama on the upbeat tracks, while avoiding some of the cliches of his contemporaries – then sliding into some mellower moments that really hold the album together strongly. Production is definitely in a late 80s R&B mode, but with a style that really sets it apart – and titles include "Strange Relationship", "This Time", "Good Bye Good Friend", "Challenge", "Natural Love", "Once Twice Three Times", "Shakin My Emotion", and "Share A Love". The self-titled Howard Hewett set is standard-setting album from Howard Hewett – the kind of record that made him a dominant force in soul at the start of the 80s, and for good reason too! Hewett knocks it out of the park with the very first tune – his great duet with Anita Baker on "When Will It Be" – then flows wonderfully through a set of tracks that build with a nice sense of subtle drama, and use enough of the best contemporary elements to remind us that we're in the world of soul, not pop – on cuts that include "Don't Give In", "If I Could Only Have That Day Back", "Show Me", "I Do", "Let Me Show You How To Fall In Love", and "I Know You'll Be Comin Back". Allegiance is one of the biggest albums ever from Howard Hewett – already a superstar in 90s soul by the time of its release, and a master of the new sort of quiet storm that was taking over in the decades! The beats are a bit heavier than the years before – that lesson that mainstream R&B was starting to learn from the streets – while still keeping the best focus on the sort of romantic charms that first got Hewett noticed in the first place, on a set of tracks that have a gently-stepping vibe throughout. Titles include "Can't Get Over Your Love", "Say You Will", "Masquerade", "Ronnie O", "Save Your Sex For Me", "Can We Try Again", "Allegiance", "Just Like A Woman", and "To Thee I Pray". Bonus tracks include the duet with Roberta Flack on "Let Me Be A Light To Shine", one with David Sanborn on "Got To Give It Up" – and tracks that include "Stay (before midnight mix)", "Ten Commandments Of Love", "Strange Relationship (ext)", "If I Could Only Have That Day Back (12" ext voc)", "Obsession", and "I Can't Tell You Why". ~ Dusty Groove

Robert Walter To Release 'Aquarium Drunkard Lagniappe Session (V3)

Robert Walter interprets artists Grandmaster Flash & Melle Mel, Liquid Liquid, Jackie Mittoo, Eddie Harris, Rammellzee & K-Rob and Les Baxter & Martin Denny on his third session for the beloved music journal, Aquarium Drunkard. The keyboardist—who co-founded The Greyboy Allstars and is currently on tour as a member of Roger Waters’ band—plays all of the instruments. Originally shared exclusively via Aquarium Drunkard on May 14, 2021 in advance of Walter reissuing his 1996 solo debut Spirit Of '70, the five track EP is now being issued through Royal Potato Family on all digital music platforms.

"These tracks were all recorded for Aquarium Drunkard’s Lagniappe series. This was my 3rd installment," explains Walter. "I always try to find some interesting tunes that have inspired me in some way over the years. It’s also a fun challenge to record the music all by myself. I played all the instruments here and arranged, recorded and mixed at home."

Today, the EP's opening track, a reimagination of Melle Mel's "White Lines," which itself was a reinvention of Liquid Liquid's 1983 track "Cavern," has been released.

"I have always loved 'White Lines (Don’t Do It).' I remember hearing this when I was first discovering rap music as a kid. I learned later that the music is based on Liquid Liquid’s 'Cavern.' I love how the interactions between the NYC art scene, punk rock, and emerging hip-hop were happening so naturally and quickly during the late '70s," continues Walter. "This tune manages to be a message song, embrace some avant-garde musical ideas and still work as dance music even to this day. I have been playing it off and on in bands my entire life. I started doing it a lot as an organ vehicle during late night Jazzfest gigs as a comment on the wild party atmosphere. This version references both the original Liquid Liquid track and the brilliant Melle Mel interpolation."

ROBERT WALTER: Aquarium Drunkard Lagniappe Session, Vol. 3

• White Lines / Cavern
• Earthquake
• 1974 Blues
• Beat Bop
• Quiet Village

Walter Smith III | "Return To Casual"

Saxophonist and composer Walter Smith III has signed with Blue Note Records and enters a new era of his band leading career with the April 7 release of his remarkable label debut return to casual, the long-anticipated follow-up to his self-released 2014 recording still casual. Reprising their bandmate roles, pianist Taylor Eigsti, guitarist Matt Stevens, bassist Harish Raghavan, and drummer Kendrick Scott reveal a seasoned depth of dimension alongside featured guest appearances by trumpeter Ambrose Akinmusire and pianist James Francies. return to casual is available for pre-order now on Blue Note Store exclusive color vinyl, black vinyl, CD, or digital download. Listen to the lead single “Contra.”

Smith also makes his debut as a leader at the Village Vanguard tonight when he opens a week-long engagement at the venerable New York City jazz club where he and his quintet will be previewing material from the new album from February 7-12. 

Dedicated to collaborative work with some of the music’s most influential voices — including Akinmusire, Terence Blanchard, Gerald Clayton, Eric Harland, Jason Moran, Christian Scott aTunde Adjuah, Herbie Hancock, Maria Schneider, Terri Lyne Carrington, and Dee Dee Bridgewater — Smith has crafted a distinct style, personal vocabulary, and compositional approach that serves the individuality of his fellow artists. For the past several years, he has been co-leading the acclaimed In Common project with Stevens, exploring and refining different conceptual approaches to writing.

In releasing return to casual, on which he also serves as producer, Smith unveils the many ways his creative expression has expanded, and the influence these collaborative environments have had on his vision as a leader. The album casts a shifting mood across nine original works (and one new arrangement) all composed within weeks of each other. return to casual opens with humor and virtuosity on “Contra,” an homage to Smith’s childhood. Using the iconic video game’s tester code, up up down down left right left right B A B A start, he sequences a melodic thread through the song.

Through return to casual, Smith renews his identity as a band leader, bringing with him an expansive, resonant artistry and a cooperative vision for his original works. ~ Bluenote

Julian Lage | "The Layers"

On March 17, guitar virtuoso Julian Lage will release The Layers, a stunning companion piece to his acclaimed 2022 album View With A Room. The collection features six original pieces recorded during the same sessions which found Lage discovering new orchestrational possibilities by augmenting his deeply attuned trio of bassist Jorge Roeder and drummer Dave King with the addition of fellow guitar icon Bill Frisell. The Layers is available for pre-order on vinyl, CD, and download. The title track “The Layers” has been released today as a digital single along with the official live trio performance video.

“At its core, The Layers is a prequel to View With A Room,” explains Lage. “It has all the musical seeds that grew into what I consider the touchstones of View With A Room—a duo with Bill, a duo with Jorge, more atmospheric and expansive writing, Dave and Jorge’s incredible rhythmic and orchestrational sensibilities. View With A Room is a comprehensive look at these musical qualities we were so excited to explore in the studio, and The Layers offers a distillation of the various relationships within the ensemble and production team. Taken as a whole, The Layers has a heartbeat all of its own.”

Imbued with vibrant colors and exquisite interplay, The Layers is a welcome additional offering from this meeting of two of modern jazz’s most distinctive voices with one of the music’s most skilled and inventive rhythm sections. The six songs on The Layers all share a musical spirit that stems from a more atmospheric world then the ten songs on View With A Room. Half of the pieces are centered around the acoustic guitar, which further distinguishes the sonic palette, and they each explore longer form structures with wider improvisational expanses. The Layers was produced by Margaret Glaspy and recorded by Mark Goodell with additional production by Armand Hirsch. ~ Bluenote

Buster Williams | "Unalome"

For those unfamiliar with the meaning of the title of the gorgeous new album from legendary bassist/composer Buster Williams, Unalome, or the lotus flower-topped symbol that graces its cover – “Unalome” is a Buddhist symbol representing individual transcendence and the path to enlightenment over the course of one’s life.

It is a guiding concept that Williams, a long practicing Buddhist himself, has been exploring throughout his life and career. The idea came vividly to life on his forward-looking new album. “It seemed to express perfectly the mood or the collective spirit of the music on this particular project,” Williams explains. “I believe that your life should be a succession of steps, and that those steps should be along an ascending path.

Due out today via Smoke Sessions Records, Unalome is the latest step along what has certainly been a storied path. One of the most revered bassists of the last half century, the Grammy-winning Williams has played, recorded, and collaborated with such jazz giants as Art Blakey, Chet Baker, Chick Corea, Dexter Gordon, Jimmy Heath, Larry Coryell, Wynton and Branford Marsalis, Sonny Rollins, Count Basie, Errol Garner, Freddie Hubbard, and countless others. He was a charter member of Herbie Hancock’s groundbreaking Mwandishi band and the all-star Thelonious Monk tribute ensemble Sphere.

Williams’ playing has always been remarkable for being as tasteful and nuanced as it is bold and adventurous, which has made him the accompanist of choice for vocal greats like Nancy Wilson, Betty Carter, Carmen McRae, and Sarah Vaughan. Those experiences in part inspired the ensemble that Williams assembled for Unalome, which features vocalist Jean Baylor along with a stellar group featuring saxophonist Bruce Williams, vibraphonist Stefon Harris, pianist George Colligan, and drummer Lenny White.

Along with her husband, drummer Marcus Baylor, Jean co-leads The Baylor Project, whose inspired debut album Be a Light garnered Grammy nominations in both jazz and R&B categories. She also was a pioneer of the neo-soul movement as half of the platinum-selling Motown Records duo Zhané.

Colligan and White have been Williams’ rhythm section of choice for the last two decades, with his relationship with the drummer stretching back even further and including collaborations not only in each other’s bands but in groups led by Wallace Roney, Cyrus Chestnut, and a number of others. Renowned for his membership in the landmark fusion group Return To Forever, White has also served notable tenures with Stanley Clarke, Geri Allen and Larry Coryell. Colligan, meanwhile, has released more than 30 albums as a leader alongside brilliant work with jazz greats like Jack DeJohnette, John Scofield, Ravi Coltrane and Cassandra Wilson.

Besides his longstanding relationship with Buster, Bruce Williams (no relation) has worked with such jazz legends as Little Jimmy Scott, Frank Foster, Stanley Cowell, Curtis Fuller, and Roy Hargrove, and was recruited into the elite ranks of the World Saxophone Quartet. Buster first met Stefon Harris more than 25 years ago at the urging of trombonist Steve Turre, who raved so highly about the young vibraphone wizard that Williams hired him sight unseen for a gig at now-defunct NYC club Sweet Basil.

Unalome begins with Williams’ dazzling original “Stairways,” with Baylor’s wordless vocals fusing beautifully with the frontline on the tune’s optimistic melody. It was one of three pieces the bassist penned especially for the session, another being the aching ballad “In the Middle of a Rainbow.” The memorable melody is one that had been in Williams’ mind for some time, but he dreamed up the lyric on the drive to the studio just before recording. While he’s long been an acclaimed composer, Williams began to find himself as a lyricist more recently – one of the steps along that ascending pathway he’s traveled.

“I used to think that I couldn't write lyrics,” he says. “I wouldn't even try. But when I wrote the title track and ‘Air Dancing’ for [the 1989 album] Something More, lyrics started coming to me. I don't put barriers up anymore to say, ‘I can't do this.’ I'd rather say, ‘Up till now I haven't.’ Rather than, you know, I can't. That's been part of my growth, and it's very refreshing because it lets me know that doors are not locked. Doors are there to be opened.”

The third new piece, the ethereal “The Wisdom of Silence,” is one that Williams says is still unfinished, which presents another door still to be opened. “I like that, because I'm excited to see where it's going to go.” The composer also reached into his back catalogue for “Tayamisha,” a piece named for Williams’ daughter that he originally recorded on the 1975 album Pinnacle and later with both The Timeless All Stars and Sphere. It was revived here at the behest of his bandmates.

The Brazilian classic “Estate” is another piece that Williams associates with The Timeless All Stars, thought not from performing it with the band, which also featured Cedar Walton, Billy Higgins, Harold Land, Bobby Hutcherson, and Curtis Fuller. “We did a summer tour of Italy, and I remember riding in the tour bus through the beautiful landscape full of vineyards and spacious land. We were listening to the brilliant Brazilian guitarist João Gilberto’s album Amoroso, and he sang ‘Estate.’ I just loved it; it became one of my favorites. So when I had the opportunity to have Jean sing on the album, I chose ‘Estate’ and ‘Here’s To Life.’ for her.”

The latter was the signature song of Shirley Horn, another immortal vocalist who Williams worked with. Baylor chose “I’ve Got the World on a String,” while the unusual, moody arrangement of “42nd Street” suggests not the hectic vitality of the metropolis but the alluring romance of life in the city. Williams introduced the song into his repertoire when he was invited to lead the NYC-centric Empire State Building Jazz Orchestra.

At 80 years of age, Buster Williams shows no sign of slowing his climb along that ascending path. Unalome brilliantly reflects how far he’s come while looking eagerly head to future chapters. “As I get older, I discover that there's more over the horizon than you think,” he declares. “The horizon may look like the end, but the closer you get the more you realize that you’ll never reach it. What you can see from where you are seems to be limited, but with each step you see more and more.”

"Unalome" was produced by Paul Stache and Damon Smith, and recorded live in New York at Sear Sound's Studio C on a Sear-Avalon custom console at 96KHz/24bit and mixed to 1/2" analog tape. Available in audiophile HD format.

Acclaimed London-Based Organ Group, The Filthy Six, Release the Vinyl EP of 'Soho Filth'

London-based organ group The Filthy Six release their acclaimed EP Soho Filth on vinyl via Color Red. Led by Trumpeter Nick Etwell (Tom Jones/Beck/David Axelrod/Mumford & Sons), this band of musical gunslingers have worked with some of the biggest names in music that include Amy Winehouse, Mavis Staples, Ronnie Spector, Mark Ronson, Jill Scott, Jack White, Dionne Warwick, The Foo Fighters, Robbie Williams, Duran Duran, Chrissie Hynde, Fred Wesley, Nathaniel Rateliff & The Night Sweats and the Atomic Bomb Band to name a few. These instrumental groove merchants produce a hip-shakingly powerful mix of jazz, funk, and boogaloo aligning with the finest traditions of the late 60s Blue Note/Prestige sound creating music for the mind, body and soul.

Formed in a dingy Soho basement 20 years ago, The Filthy Six spent their formative years rehearsing and performing shows in this shabby club off Kingly Court, deep in the heart of London’s Soho, around the corner from Carnaby Street and the legendary Jazz and R&B clubs of the 1960s such as The 41 Club, The Flamingo and Ronnie Scott’s. They eventually moved above ground into slightly more salubrious establishments, swapped the covers for originals, and hit the road.

Here they are, 20 years and several records later, coming full circle and back to creating music in a Soho basement with the release of their new EP, Soho Filth. Recorded live at the noted Dean St Studios, the record comes straight out of the gate with the Cannonball Adderley-inspired “Mr. Shmingle Bangle,” featuring renowned percussionist/DJ Snowboy on congas. The tune serves as a warm tribute to bandleader Nick Etwell’s old college roommate, James Bush, an astute lover of Latin jazz music.

“Swapsies” is an old-school two-chord groover that puts Hammond C3 organist Andrew Noble in the limelight to carry the melody and showcase his skills. “In Time” is up next, taking a measured and harmonically interesting approach to the traditional Blues form. The record closes in signature Filthy Six style with a good old-fashioned boogaloo blues: “The Swagger Junkie” dedicated to the fashionable denizens of Soho, strutting their stuff from the ’60s right up to the present day, never quite getting enough of how damn good they look.

In just 4 tracks listeners get to sample four distinct slices of Soho Filth and can join the band in raising a glass to the next 20 years ahead.

Regarded as one of the most exciting, authentic soul jazz outfits in the UK today, the EP received both rave reviews and airplay from the scene’s most notable luminaries, including Craig Charles, Cerys Mathews, Huey Morgan (BBC 6 Music); DJ Lil’ Koko (Jazz FM UK) and Jamie Cullum (BBC Radio 2).

Birth Right: A Black Roots Music Compendium

Craft Recordings proudly announces the release of Birthright: A Black Roots Music Compendium, an expansive overview of American Black roots music. Produced by author, professor, and GRAMMY®-nominated music historian Dr. Ted Olson, along with GRAMMY-winning producer, musician, and author Scott Billington, Birthright offers an introduction to the rich and often nuanced world of Black roots music. Spanning generations and genres, the 40 songs in this brand-new collection showcase a broad range of styles: from gospel and blues to Louisiana Creole, jazz, Gullah music, and more, while the artists range from little-known musicians to enduring icons like John Lee Hooker, Odetta, The Staple Singers, and Lightnin’ Hopkins.

Due out February 17th on 2-CD/digital formats and available for pre-order today, Birthright features a handful of rarities, as well as the previously unreleased “Georgie Buck” by the Carolina Chocolate Drops (a collective of musicians that includes Dom Flemons, Rhiannon Giddens, and Justin Robinson) featuring fiddler Joe Thompson. The 2-CD edition includes insightful essays from musicians/scholars Corey Harris and Dom Flemons (music from both artists also appears on the album), as well as an introduction and detailed track notes by Olson. Through word and song, Birthright not only seeks to pay tribute to an essential canon of American music, but also demonstrates the pervasive influence of Black roots music on popular culture – from country to hip-hop.

While the recordings on Birthright date back to the ’50s, one must take into account the historical through line, which begins centuries ago. “Music in Africa was woven into every aspect of life and every song was specific to a certain time of year, festival, activity or life event,” writes Harris. “When our captive ancestors were driven off the slave ship on to the shores of a strange land, they had these songs with them.” Amid the horrors of slavery, music served as an important form of communication. While African drums were banned, Harris explains, “Stringed instruments and household items like jugs, spoons, bones and washboards became our weapons of circumstance…. But no matter how many laws were passed, you couldn’t outlaw rhythm.”

Following Emancipation, Black roots music was first recorded in the early 20th century by folklorists like John Lomax. But, in a sharply segregated country, few people would hear it. Flemons notes, “The acknowledgement that any American music could be considered to have ‘Black roots’ was not only unheard of, it was treated with disregard and in many instances, was banned from being performed and disseminated to the general public altogether.”

These foundational recordings were vital, however – particularly because Black music and culture were generally portrayed using grotesque stereotypes or Euro-classical stylings. Instead, the audio “removed all secondary ‘straightening,’ ‘sweetening’ or ‘exaggerating’ of the music,” explains Flemons. “A new dialogue could be had between the folklorist and the musician allowing the subject for the first time to ‘speak for themselves.’” He continues, “The performance could in essence reflect the inherent value of a unique ‘Black’ culture. This early documentation is an essential resource for our understanding of Black roots music of the past.”

In the following decades, with the rise of the record industry, regional music styles developed and spread further into the mainstream, with blues, jazz, and gospel making a significant impact on popular music, leading to rock ’n’ roll, soul, and eventually hip-hop. But while new generations continued to build upon these foundations, Black roots music never stopped thriving, as Birthright proves. “There has been wave after wave of Black roots artists who have built a new bridge to the past,” adds Flemons. “No matter the era, the musical innovations of the African and Caribbean Diaspora are still prevalent in the hands, feet, instruments and voices of each of these artisans no matter how refined or down-home they may sound.”

Each track in Birthright – whether recorded 60 or six years ago – offers an example of this rich musical tradition, including a variety of mid-century field recordings. Among the highlights is Bessie Jones’ “Yonder Come Day,” documented in Georgia in 1973. Jones (1902–1984) was a member of the Georgia Sea Island Singers, which was founded to preserve the music of the Southeast’s coastal Gullah culture. Another notable selection is “Eunice Two Step,” from the renowned duo of accordion player Bois Sec Ardoin and fiddler Canray Fontenot. Recorded in the ’60s and sung in French, the song represents the “Creole” tradition and, as Ted Olson notes, “reflects the older sound of Black music in rural Louisiana before the emergence of the more modern Zydeco genre.” There are also more informal recordings, including those of incarcerated men, singing “work songs.” Among them is Bennie Richardson, who leads a rendition of the traditional “Grizzly Bear,” alongside his fellow inmates at a Texas penitentiary. The song, explains Olson, “employs verbal coding. The ‘Grizzly Bear’ character…was a white prison guard, while “Jack O’ Diamonds” was a veiled reference to a white prison warden.” The audio, recorded in the mid-’60s, features a call-and-response style of singing, which originated in West Africa.

In addition to field recordings, the collection showcases a handful of well-known legends, including The Staple Singers. While best-known as ’70s soul stars, the family group began on the gospel circuit. Their 1963 recording of Willie Johnson’s frequently covered “Motherless Children” features call-and-response vocals from patriarch Roebuck “Pops” Staples and his children, Mavis, Yvonne, Cleotha, and Pervis. Civil rights activist, singer, and actress Odetta makes an appearance with “Special Delivery Blues,” a song originally recorded in 1926 by jazz singer Sippie Wallace. Blues stars like John Lee Hooker (delivering the traditional “When I Lay My Burden Down”), Skip James (“Hard Time Killing Floor Blues”), and Lightnin’ Hopkins, who performs his influential “Automobile Blues,” are also represented in this collection, while a younger generation of celebrated bluesman, Taj Mahal and Keb’ Mo’, revisit Sleepy John Estes’ “Diving Duck Blues” from 1929.

Birthright also looks to the future with inspired tunes from contemporary acts. Among them is Ranky Tanky, who interpret traditional Gullah music. The term “ranky tanky,” which translates roughly to “get funky,” inspired both their group name and the song included in this collection. Another example is the aforementioned “Georgia Buck” from the Carolina Chocolate Drops, who share a passion for African American string bands. Their 2006 recording of the traditional tune is a collaboration with their mentor, fiddler Joe Thompson (1918–2012). The internationally renowned a cappella ensemble Sweet Honey in the Rock, meanwhile, delivers the 19th-century spiritual, “Study War No More.” Known more popularly as “Down by the Riverside,” the song not only became a gospel staple, but also an antiwar anthem during the Vietnam War. The even longer-running Preservation Hall Jazz Band – a New Orleans institution – performs Paul Barbarin’s “Bourbon Street Parade,” which pays celebrates the joyful, parade-beat groove which is the heartbeat of the city’s music. Another mainstay of the Big Easy, the Dirty Dozen Brass Band, has been keeping the city’s brass band tradition alive since 1977, and appears here with their Caribbean-inspired 2012 tune, “Best of All.”

While the voices on Birthright are unique, they all share a common thread. As Harris puts it so eloquently, “When we listen to the artists on this set, we are hearing the voice of a people determined to express themselves and be heard above the empty, metallic din of progress, above the saccharine pop and soulless glam of the industry. When the power goes out and the internet goes down, some of us will still be playing music and sharing our joys and pains with one another in song. Black roots music is a testament to the fact that if modern civilization were to collapse, we have the power and the spirit to rise up once again. We only need to hold on to our roots. This is an excellent place to start.”