New Music: Twospeak - Keep The Aspidistra Flying; ENEMY - Neglecting Number One (single)

Twospeak - Keep The Aspidistra Flying 

Twospeak are band leader and saxophonist Ronan Perrett’s bold and dynamic four-piece that draw inspiration equally from the world of contemporary London jazz, bands like The Bad Plus as well as the 1970’s Canterbury scene of Soft Machine and Caravan, Hot Rats-era Zappa and Deerhoof-esque indie rock, putting this all together in a heady brew and sounding uniquely themselves.

Twospeak's name is derived from the balancing act between words used to get through day- to-day life and the language of emotion, mood and storytelling humans have been expressing through music for thousands of years. That delicate balancing act is re!ected in the distinctive music the group make.

Born in the contemporary jazz scene, the band consists of Ronan Perrett (saxophone), Mike De Souza (guitar), Joseph Costi (keys, synths) and Ben Brown (drums) - musicians from groups such as Waaju, Byron Wallen’s Four Corners, Caravela and Dizraeli

'Keep The Aspidistra Flying' is the first single from the band’s new album 'Fictions', their debut for None More Records and third LP overall, due out in November 2023. Built around an off-kilter groove and circling riff, the song builds and disintegrates in and out, building each time as a different member of the group stretches out. De Souza’s distorted guitar wash and Costi’s keys add an eerie atmosphere on top of the tight rhythms provided by Ben Brown.

This first single draws inspiration from George Orwell’s 1936 novel of the same name, as each song on 'Fictions' is based on a piece of non-musical art which include paintings, sculpture, literature and film.

Ronan says of the novel “I related to the main character’s struggle with finding a balance between compromising on his artistic integrity, in this case as a writer, and on the resulting consequences his decisions brought to his life.”

'Fictions' represents a huge step forward for the band, building on the previous albums 'Twoism' and 'Re!ector', really taking the band to new heights.

ENEMY - Neglecting Number One (single) 

ENEMY, the trio of drummer James Maddren, pianist Kit Downes and bassist Petter Eldh unveil new single 'Neglecting Number One', taken from their upcoming We Jazz Records debut titled 'The Betrayal', out 22 September 2023.

After their self-titled debut (Edition, 2018) and the follow up ('Vermillion', ECM 2022), the explosive yet lyrical trio is seeking new directions with the 12-track new record, arguably their strongest yet.

'The Betrayal' consists of all original material penned by Downes and Eldh. It's an album of "purposeful contradictions and a shedding of skin", a studio recording recorded within the scope of a single day, edited, produced and mixed by the band themselves. In their own words, the band "doesn't really rehearse, playing a lot live, taking risks, always writing new music, always playing as fresh as possible", and evolving in the process.

Careful listeners will quickly notice how different from 'Vermillion' the new album is. Where once was echo and reverb, is now rhythmic intensity and a more compact sense of sound. The band sounds closer, their movement seems more focused. If ENEMY would have a motto, it would be "no risk, no fun". True to this, The Betrayal has its sudden twists and turns, yet the trio never loses sight of what makes the music theirs. It wouldn't be fair to call them "experimental", at least for the sake of using such a vague word, but they do experiment, having fun while at it. Listen to the three albums in one serving and you'll surely hear many directions in music being suggested, tried out, perfected, thrown out, and taken into processing again. You can also hear it within a single track at times.

While being on the move at all times, they have a real "swing" in their sound, and there's always a bigger idea for the music than just playing it, whatever it might be at any given moment. Their music is natural, and why not, for it's based on long-time collaboration and friendship.

As Kit Downes once said: "Whatever the situation is, I'm always looking forward to meeting up with Petter and James again, discussing everything from W.G. Sebald, to Eels, to Mad Max (Fury Road) to East Croydon."

New Music Releases: Big John Patton, Spiritual Jazz 14, Black Market Brass and Todd Mosby

Big John Patton - Let 'Em Roll (180 gram pressing)

A wonderfully wicked meeting of the minds – and a legendary bit of soul jazz from organist Big John Patton! The core of the record features the usual Patton groove – with John on Hammond, Grant Green on guitar, and Otis Finch on drums – but added to that mix is Bobby Hutcherson on vibes, making a rare appearance on an organ jazz session, with some wonderful results! The combination of vibes and organ is especially haunting – jangling a groove with a really modal feel, and creating a sound that instantly made this one stand out from the pack! The whole thing's great, and tracks include "The Turnaround", "Let Em Roll", "Latona", and "One Step Ahead". (Part of the Blue Note Tone Poet series – heavy vinyl and cover!) ~ Dusty Groove

Spiritual Jazz 14 (Compilation)

Jazzman continues to dig further and further into the many-limbed history of jazz to bring you the finest, lesser-heard sounds. Their continued Spiritual Jazz series has become an invaluable resource for anyone looking to up their knowledge of this meandering sub-genre, but things are a little different on volume 14. This time the experts at the label have gone hunting around the clandestine world of private press records, recorded and released in true DIY fashion and extremely rare as a result. Unless you're avidly pursuing such hard to find records across the world, this is a gateway into dedicated groups, singers, players and hobbyists whose gifts deserve to be heard as much as the major players. Includes tracks from Erni Clark, Elysian Spring, Radam Schwartz, Mary Lou Williams, Carmelo Garcia, Black Is, Cullen Knight, Don Menza, Belair, Andrew McPherson, Almanac, Owen Marshall, Bobby Jackson, and Compass.

Black Market Brass - Hox

Maybe the coolest set so far from this excellent combo – a record that infuses their unique blend of Afro Funk with some slightly psychedelic currents – as you might guess from the cover! The record's not entirely in the territory of a group like the Heliocentrics, but there's certainly more fuzz than before – yet always balanced with the forward-moving rhythms that the group does so well, plus plenty of that soaring brass work that graces their name – horn lines that are in a fantastic tradition that includes both styles from New Orleans and Nigeria! Titles include "The Pit", "But At What Cost", "Aethervision", "Little Ghosts", "Hox C", "Echo AD", "A Web A Knot A Tangle", and "Doom Country". ~ Dusty Groove

Todd Mosby - A Place In The Sun

The playfully-titled "Place In The Sun", exudes the transcendent feeling of being in such beautiful natural environs-exudes a sense of spirituality and joyous mystery. The song features many musical keepsakes from Mosby's musical journey, including dreamy Sergio Mendes-style female vocals, a funk and Motown-like grooving rhythm section, and 1970s jazz-fusion musicality with Todd's lyrical but dexterous guitar playing. Todd Mosby is a musical storyteller and a landscape artist. His latest single from the soon to be released album, Land Of Enchantment, is a gorgeous sonic look at the visual, emotive, spiritual interactions Mosby experiences within the New Mexico borders. This tune also pays melodic homage to Tom Scott's "Tom Cat" album which was an early inspiration. A-list musicians include: drummer Vinnie Colaiuta, saxophone/aerophone Tom Scott, bassist Rhonda Smith, keyboard/synth Dapo Torimiro, vocalist Laura Vall, two-time Grammy winning producer Jeff Weber, and Emmy and Grammy-winning engineer Clark Germain.

Elina Duni | "A Time to Remember"

A Time To Remember is a continuation of the special synergy that inhabited Elina Duni’s acclaimed Lost Ships and finds her regrouping with that album’s quartet of guitarist Rob Luft, Matthieu Michel on flugelhorn and Fred Thomas on percussion and piano. Over the course of the past years, the group’s rapport has grown more familiar, leading to greater interplay and a collaborative spirit. 

Elina: “I think this album is a reflection of our shared passion for musical storytelling, going beyond genre and language. After several years on the road touring together, the slightly unconventional lineup now sits comfortably, and inhabits its own, singular world of sound. It feels like the most cinematic album I’ve made to date, too, with every song suggesting a different film. It draws inspiration from our diverse, multi-lingual repertoire of traditional folksong.”

As the title suggests, the notion of ‘time’ – in a fleeting sense – pulls through the programme like a theme, connecting music from different parts of the world – traditionals, popular songs and original compositions – in performances of deep lyricism but also fleet-footed folklore. The repertory spans Albanian and Kosovan traditionals, American songs like the Broadway classic “I’ll Be Seeing You” and Stephen Sondheim’s musical ballad “Send In The Clowns” as well as originals by Rob and Elina.

 The lyrics of the opening piece “Évasion” are taken from the eponymous poem by the Belgian-Israeli poet Esther Granek, and have been set to music by Elina and Rob. The quartet renders the already pensive words in stark melancholy, as guitar, piano and trumpet, through arpeggiated patterns, suggest the ebbing and flowing tides of the sea, which is among the poem’s main symbols. 

Many of the original compositions on the album are heavily inspired by an extended spell Rob and Elina spent in the Sinai Desert and reference the Red Sea, desert climate and nature in general – naturally provoking the cinematic quality Elina hints at. “Of course these peculiar past years have provoked something more intimate – it has been a period of introspection for many. What’s more, the record draws from nostalgia, too, incorporating music like the Albanian song ‘Mallëngjimi’, which literally translates to ‘nostalgia’, or ‘I’ll Be Seeing You’. There was a willingness to go to the essence of things, to the core of the chosen songs, revealing something bare that seems to echo the Sinai Desert”.

 Rob and Elina’s musical bond is key to the group’s floating interplay and the development of the musical material. The two also tour as a duo and collaborate as co-writers throughout the album. “Rob has a sun-drenched, solar side to his playing and writing,” Elina explains, “while I tend to be drawn to darker musical colours. Combining these two contrasting elements can be a great challenge, but the result is equally rewarding. Finding the middle ground is a way for us to become sincere and authentic in our collective.” Commenting on the group’s last effort, Jazzwise said that “the sum of Duni and Luft’s work together seems greater than their individual achievements, where concept and conceptualisation have combined to produce a classic.” A Time To Remember should confirm that proposition and further expands on the qualities explored previously. 

After two acclaimed quartet recordings for ECM with pianist Colin Vallon, bassist Patrice Moret and Norbert Pfammatter on drums – 2012’s Matanë Malit and Dallёndyshe from 2015 – Swiss-Albanian singer Elina Duni presented her unique voice and striking range of musical influences and songwriting in a solo setting on Partir (2018). The album captured the vocalist accompanying herself on guitar, piano and percussion and interpreting songs from very diverse sources – spanning folk songs and chansons to singer-songwriter ballads. The French Jazz Magazine described the album as “transcendent, highlighting the pure and luminous voice of a particularly sensitive singer.”

The follow-up, Lost Ships (2020), was the debut of her quartet with Fred Thomas, Rob Luft and Matthieu Michel and garnered much praise. Jazz Journal said: “As ever with Duni, this is an album of craft and skill, of beautiful vocals and subtle instrumentation, performed with perfection. As ever, evocative and intensely moving.”

Matthieu Michel previously appeared on ECM as part of bassist Michel Benita’s quartet on Looking At Sounds (2020), and with Susanne Abbuehl on The Gift (2013).

Fred Thomas meanwhile has debuted his own leader recording for the label on the New Series, presenting his trio arrangements of Bach chorale preludes, vocal cantatas and orchestral sinfonias on Three Or One (2021), alongside violoncellist Lucy Railton and violinist Aisha Orazbayeva.

Son Little Joins George Porter Jr., Eddie Roberts, Robert Walter & Nikki Glaspie in New Single "Fall Right In"

Acclaimed indie-soul songwriter Son Little makes a guest appearance on "Fall Right In," the final single release of the forthcoming Floki Sessions: Boots in Place' album via Floki Studios. The all-star collaborative album features George Porter Jr. (The Meters), Eddie Roberts (The New Mastersounds), Robert Walter (Greyboy Allstars & Roger Waters), and Nikki Glaspie (The Nth Power) in a potent collective effort recorded at Floki Studios in the Fljót Valley on the mountainous Troll Peninsula in northern Iceland at Eleven Experience's Deplar Farm during the winter of 2021.

"Fall Right In" sees a merger between the studied funk prowess of the core quartet and Son Little’s smooth, bluesy vocal stylings over a quirky arrangement with lyrics detailing the underbelly of New Orleans. While performing a headlining show at The Bluebird Theater in Denver, CO in November 2022, Son Little connected with Eddie Roberts who recruited him to guest on the track and come into Color Red Studios to work on the arrangement. The final outcome presents the perfect follow-up to Son Little's recent Like Neptune album and a guest appearance on the Eric Krasno & Otis McDonald project King Canyon amidst a busy touring schedule that includes upcoming appearances at The Kennedy Center, The Peach Music Festival, North Sea Jazz Festival, and more.

This inaugural edition of the Floki Sessions comes hot off the heels of The New Mastersounds’ The Deplar Effect which garnered acclaim earning the #1 spot on the Relix Radio Charts, reached the #24 spot on NACC’s 2022 R&B/Soul Charts, and editorial playlist support on Spotify & Apple Music. In addition to Roberts’ successes with The Deplar Effect and a recent run in Japan with The New Mastersounds, Walter has been the touring keyboardist with Roger Waters (Pink Floyd) and Glaspie has maintained an active schedule touring with Trouble No More, an all-star tribute to The Allman Brothers.

The full-length album produced by Roberts will also feature guest artist appearances by Erica Falls (formerly Galactic), Lamar Williams. Jr. (Trouble No More, The New Mastersounds & North Mississippi All-Stars), Tierinii Jackson (Southern Avenue), Eric “Benny” Bloom (Lettuce), and rising Chicago artist GreenTTea.

 

From Japan to NYC, Vocalist Masumi Ormandy' (84 Years Young!) Releases "BEYOND THE SEA"

After Japanese vocalist Masumi Ormandy released her debut album in 2016, Sunshine in Manhattan, a world of opportunities opened up for her. During the past seven years, she has released three CDs in Japan, performed recently with the “Father of Slovak Jazz,” Peter Lipa, in Slovakia, who invited her to participate in a concert tour to the Czech Republic, plus she has performed concerts in Japan, Italy, the USA and Vienna, where she was featured at the Viennese Ball in 2023. This was quite an accomplishment considering she is an astute businesswoman and educator who followed her dream to become a singer, making her debut album at the age of 77.

Ormandy’s adventurous heart, now 84 years young, yearned to return to where it all began in New York City to record a new album, Beyond The Sea, in June 2023. Roseanna Vitro produced once again along with master audio engineer, Paul Wickliffe. Vitro is an esteemed performer, clinician, recording artist, and jazz vocal instructor, who has released fourteen critically acclaimed recordings. Her album The Music of Randy Newman earned a Grammy Nomination for "Best Vocal Jazz Album." Vitro and Allen Farnham, longtime collaborator and renowned New York pianist and arranger, worked for two months creating a travelogue interpreting music of America and back to Japan in this inspiring new recording.

Ormandy is surrounded by a stellar cast of New York’s finest musicians, including Allen Farnham on piano and synth, Dean Johnson on bass, Tim Horner on drums, star tenor saxophonist Houston Person, trumpet great Bria Skonberg, master trombonist John Allred, the formidable Danny Bacher, who plays soprano sax and performed a vocal duet with Ormandy, guitar great Chiele Minucci, who’s known for his group Special EFX, the swinging guitarist Paul Meyers, tenor saxophonist Tim Ries (Rolling Stones), Anders Bostrom on flute, and Mino Cinelu on percussion. Star violinist Sara Caswell and cellist Jody Redhage Ferber are featured on the orchestral arrangements. Truly a dream team.

Ormandy’s jazz vocal career began when she came from Japan to New York to study with Vitro. Although Ormandy had music training at conservatories in Tokyo and San Francisco when she was young, she quit her studies when she met and fell in love with Ray, an American who was living in Tokyo and teaching at a university. Masumi and Ray overcame social taboos and married. Together they founded the Pacific Language School in Tokyo, which offers English language instruction for Japanese students of all ages. The school continues to be a major success and an important part of Ormandy’s life.

Throughout the years, though, music was never far from Ormandy’s mind. She began learning English when she was just ten years old and had immersed herself in American culture. She particularly loved American jazz—especially Ella Fitzgerald.

Beyond The Sea is an anthology of songs that frame Ormandy’s uplifting life view. She opens the album with "Beyond the Sea," the English-language version of the French song "La Mer” by Charles Trenet, popularized by Bobby Darin in 1959. While the French original was an ode to the sea, the English lyrics written by Jack Lawrence transformed it into a love song. “I Can't Give You Anything But Love, Baby" is a jazz standard by Jimmy McHugh and Dorothy Fields. It features Bacher in a Louis Armstrong inspired vocal duet with Ormandy complete with a New Orleans jazz-style horn section.

“Smile” appeared in Charlie Chaplin’s film, “Modern Times.” Chaplin co-wrote the music with David Raskin, a fellow filmmaker. The lyrics were the brilliant creation of songwriters John Turner and Geoffrey Parsons, and brings the promise, even when your heart is breaking, “You’ll see the sun come shining through, if you just smile.” Masumi was 6 years old when the nuclear bomb hit Hiroshima, 188 miles from her home in Kobe. She spent over a month in blackout conditions, living in fear of another bomb. For Masumi, sunshine has healing properties for the darkness humanity encounters.

“Like a River Flowing” is iconic in Japan, written by Akira Mitake with lyrics by Yasushi Akimoto. These inspiring English lyrics were written by Steve Sacks, NYC saxophonist and member of Ormandy’s Tokyo quintet.

“Here’s to Life” by Artie Butler and Phyllis Molinary, was the signature song of the late, great Shirley Horn. With Ormandy’s 84-year-old journey, the story easily flows forth with conviction. “Sentimental Journey” — the classic World War II era anthem with music by Les Brown and lyrics by Bud Green —is reminiscent of the Andrew Sisters’ joyful swing era.

“I’m Through with Love” was written by Gus Kahn, Matty Malneck and Fud Livingston. It features Houston Person on tenor sax, with Ormandy’s poignant vocal delivery of love and longing. “Tea for Two,” originally from the show “No, No Nanette,” by Vincent Youmans and Irving Caesar, found new life with the Farnham/Vitro arrangement. Ormandy was inspired to include “I Left My Heart in San Francisco,” by George C. Cory, Jr. and Douglass Cross, because of her years spent in San Francisco as a young adult.

“It’s Only a Paper Moon” was written by Harold Arlen with lyrics by Yip Harburg and Billy Rose. “Ringo No Uta” (Apple Song) is a beloved Japanese song originally composed by Tadashi Manjyome, with lyrics by Hachiro Sato. English lyrics by NY pianist Jonathan Katz, Ormandy’s Tokyo bandleader.

Ormandy may have found her voice late in life, but her conviction and maturity make her music authentically compelling. With Roseanna Vitro at the helm and a band of A-list musicians, Ormandy’s artistry and commitment shine through. 

New Music Releases: Brian Jackson / Joaquin Joe Claussell; Norman Connors / Bembe Segue; Kaidi Thatham and Cinematic Orchestra

Brian Jackson / Joaquin Joe Claussell - Mami Wata: Sacred Rhythm & Cosmic Arts Remixes 

This new Brian Jackson package 'Miami Wata' brings together traditional African sounds and modern Latin house music in a captivating fashion. Jackson's rendition of a traditional African song draws on the sacred lands of the Dogan in Mali and the rich rhythms of Ghana, paying tribute to all the different African cultures that have made for such a diverse tapestry of world music. The original comes with serval remixes, dubs and cosmic reworks from the one and only Body & Soul man Joe Claussell who takes it into all new but equally spiritual realms. It makes for an epic double 12" from BBE. Full tracklisting: "Mami Wata" (Joaquin Sacred Rhythm version) (14:04);"Mami Wata" (extended album version) (12:11); "Mami Wata" (Joaquin House dub) (5:49); "Mami Wata" (Joaquin Sacred Arts Story version) (16:40); "Mami Wata" (Joaquin Deep dub) (6:02); and "Mami Wata" (Joaquin Cosmic Arts Future instrumental) (9:24).

Norman Connors / Bembe Segue - Mother Of The Future (reissue)

Expansion's focus right now is on reissuing classic tracks alongside a newer version of it. They are all coming on tidy 10" eco vinyl in mad limited numbers and next up is Norman Connors and Bembe Segue. Connors dropped his superb 'Mother of the Future' in 1975 and it is a mad jazz dancer with layer upon layer of Afro drumming, loose percussion and expressive vocal ad-libs. Flip it over and we're taken to 2008's live version of the same tune by Bembe Segue. It's a little less intense but no less busy, with silky jazz grooves and new vocals layering in some future soul.

Kaidi Thatham - The Only Way

Kaidi Thatham remains one of the truest artists in the field of broken beat and modern jazz, and his fifth album for First Word shows no signs of slowing down. There's a certain signature you know belongs to him when those nasty Moog synth lines start flexing around the groove, but there's such depth and variety to his expression at this point in time, it feels like the possibilities are endless. From rattling neo-funk get downs to blissful downtempo reveries and on to the killer hip-hop of 'The Only Way' featuring Uhmeer on mic duties, this is an album bursting with invention at every turn. Tracks include: Reason We're Here; Criss Ting; interlude; The Only Way (feat Uhmeer); Windus McGuntus; Confidence With Attitude; Feels Like I'm On My Own; Fricassee; Alien (feat Trian Kayhatu) It's On; and Not Suffering (feat Matt Lord).

Cinematic Orchestra - To Believe

Given the rise in popularity in new school jazz in recent years, it seems a fitting time to welcome back Ninja Tune stalwarts The Cinematic Orchestra. "To Believe" is not only their first album in some seven years, but also one of their strongest releases to date. Opening with the poignant neo-classical/soul fusion "To Believe", the set sees Jason Swinscoe and company attractively saunter between jazz-electronica fusion (Roots Manuva collaboration ("A Caged Bird/Imitations Of Life"), pastoral jazz epics (the sunset ready epic that is "Lessons"), gentle downtempo songs ("Wait For Now/Leave The World"), ambient jazz ("The Workers Of Art") and slowly unfurling dancefloor workouts (killer closing cut "A Promise"). In a word: stunning.

New Music Releases: Bob James, Angie Wells, Michael Echaniz and The Oscillators

Bob James - Jazz Hands

Jazz Hands is Bob James' third outing for evosound, following in the wake of 2018's Espresso and 2022's Feel Like Makin' LIVE. Produced by the pianist with his manager Sonny Abelardo, the ten-track album was mostly recorded during the months of the Covid pandemic and featured James in a number of different musical settings. It also features a stellar cameo from the ex-Gnarls Barkley singer CeeLo Green on the sensuous title track and includes production input from the legendary hip-hop turntablist DJ Jazzy Jeff, who rose to fame as half of the hit-making '80s/'90s rap duo, DJ Jazzy Jeff And The Fresh Prince, early samplers of James' music. Blending cool jazz tropes with funky dance floor grooves, blues-tinged ballads, cinematic mood pieces, and sensuous slow jams, Jazz Hands is the Missouri pianist's most eclectic album of his long career. Simultaneously classic and contemporary, it's Bob James at his majestic, ground-breaking, and timeless best.

Angie Wells - Truth Be Told

On Truth Be Told, singer and songwriter Angie Wells explores the truths of life and living in 13 jazz standards and covers and four original songs. This is Wells’ second release and follows Love And Mischief (2017), for which All About Jazz raved, “This performance is simply exceptional…Angie Wells has arrived… big time." Produced by legendary bassist John Clayton, who is also featured as a special guest in a duet with Wells, Truth Be Told includes Josh Nelson (piano), Clayton Cameron (drums), Trevor Ware (bass), Larry Koonse (guitar), Jacob Scesney (tenor sax), Ivan Malespin (trombone), Kye Palmer (trumpet and flugelhorn), Katisse Buckingham (flute), and Carey Frank (Hammond B3). Vocalists Lynne Fiddmont and Valerie Geason provide background vocals on two tracks and vocalist Zion G duets with Wells on one track. Angie Wells is a multi-talented artist. Besides being an engaging singer with a warm, sensual and bluesy voice, she is also a successful Hollywood makeup artist with two Emmy nominations. She has built a large following of admirers throughout Southern California and France. Truth Be Told is not only a personal statement from a thoughtful, sensitive singer, it is also a showcase for her impressive songwriting talent.

Michael Echaniz - Seven Shades of Violet (Rebiralost)

Ridgeway Records releases Seven Shades of Violet (Rebiralost), the stunning debut jazz album from San Francisco based pianist, keyboardist, and composer, Michael Echaniz, in the wake of a successful fight against stage four lymphoma cancer. Well over an hour in length, this epic conceptual work features the core contributions of producer, bassist, and vocalist Jeff Denson, drummer and percussionist Dillon Vado, and primary vocalists Danielle Wertz and Molly Pease with an array of special guests, including features from saxophonist Dann Zinn, percussionist Silvestre Martinez, and the strings of Friction Quartet. Symmetrically constructed, the nine original compositions and two arrangements feature a wide variety of synesthetic moods and acoustic-electric textures, drawing inspiration from mathematics, history, Basque heritage, and existential crisis. Bookended by the interconnected Prologue and Epilogue, Seven Shades of Violet takes a dazzling early turn with the eponymously named second track, set in a brisk 7/4 groove. Subsequently, Proxima Centauri opens the dynamic, bass-heavy texture wide for the sensitive paired vocals of Denson and Wertz. Wayne Shorter's Prince of Darkness presents the sole reference to the jazz canon, featuring an extended drum solo by Vado against pulsating synth swells. In an unexpected turn, Everything Is Embarrassing transforms Sky Ferreira's minimal indie pop hit of the early 2010s into a tightly arranged, jazz fusion tour de force, featuring a wailing tenor sax solo from reed virtuoso, Zinn. At the album's apex, Gernika ventures dramatically into long-form composition with the fiery vocals of Pease and evolving percussion of Martinez, drawing programmatic inspiration from the 1937 fascist bombing of Guernica, Spain, and Pablo Picasso's famous subsequent art piece.

The Oscillators - The Oscillators

Representing Seattle Funk. The Oscillators' debut album is deep, raw and energetic. Led by drummer oLLi kLoMp, the line up features members of the polyrhythmics, Rippin' Chicken, the Pulsations, Lucky Brown, the Trueloves, 45th Street Brass, The S.G.'s, and more...As of yet, as these words were written, the Oscillators is not a band. the Oscillators is an experimental recording collaboration that turned out swimmingly. Our gauge was this: "Do we like it?" No agenda or goal. The main mode being simply; create what we like out of thin air. Yet the air was heavy therefore create what we like out of thick air. Magical, gravy-thick air. Molecules, olli'cules. Alchemically thick. Apparently, we needed to sample something out-of-the-ordinary… the process is called, "stackin- phat". Minimal gear, maximum vibe. In fact, this process and this gear would make most educated sound engineers cringe but the players know. Pushing the tape…yes, tape! 4 track to be exact, pushing the tape to it's edge. First, stack two drum tracks. bounce them to one primal track. Sometimes one drummer, sometimes two; "a great drumbeat already contains melody." This is your first layer of phat...  more

Grammy-nominated alternative jazz drummer, producer, and rapper Kassa Overall releases "Animals"

The ongoing collaboration between Overall and Butler, two pioneers in the jazz-rap continuum, has its roots in Seattle. Both graduated from Garfield High School, a school in Seattle’s historically black Central District with a long and storied tradition of graduating black genre-shifting musicians, including Jimi Hendrix and Quincy Jones.

Overall expands on this shared history with how he grew up listening to Digable Planets: "One of my favorite records, and one of the first CDs I ever had, was Reachin’ by Digable Planets. This album was extremely influential as it planted the seed in my mind of what I could one day achieve by utilizing rap production and improvisation/live instruments. Butterfly, aka Ishmael Butler, was the mastermind behind the production in Digable. To work with him today is a sign of completion, and it’s an honor that he recognizes something in me.”

Reciprocating reverence, Butler adds: “You could tell that he’s interpreting influences, but always understanding that the things that have influenced him are often things that are very original. So its like, when you listen to those things, you can sort of like get in the mode of copying them, or you can understand the essence of them, and get influenced by the essence rather than mimic it. What I like about Kass is that he is making his own foray, you know, into the sound. And also the ability, the unique ability, to change genres, rhythm, groove, sound, all in the course of a song, but it still got cohesiveness to it.”

Overall’s new album ANIMALS is out now and since sharing news of the album back in March, Kassa has earned support from The New York Times, Stereogum, Pitchfork, Paste, Treble, Brooklyn Vegan, American Songwriter, NPR Music, among many others. He also delivered a Tiny Desk performance described by the institution as a “virtuosic display of musicianship, lyricism and artistic innovation.”

Ready To Ball Tour

• August 09 - Ronnie Scott’s - London, UK
• August 11 - We Out Here Festival - Dorset, UK
• August 12  - A l’Arme Festival - Berlin, DE
• August 13 - Kunstverein Familie Montez, Frankfurt, DE
• August 17 - Cologne Jazzweek - Cologne, DE
• August 25 - The New Parish - Oakland, CA
• August 26 - Mississippi Studios - Portland, OR
• August 27 - THING Festival - Port Townsend, WA
• September 7 - Hopscotch Festival - Raleigh, NC
• September 9 - 9:30 Club - Washington D.C.*
• September 12 - Starland Ballroom - Sayreville, NJ*
• September 13 - Royale - Boston, MA*
• September 14 - State Theatre - Portland, ME*
• September 15 - College Street Music Hall - New Haven, CT*
• September 16 - Union Transfer - Philadelphia, PA*
• September 19 - Danforth Music Hall - Toronto, ON*
• September 20 - Town Ballroom - Buffalo, NY*
• September 21 - House of Blues - Cleveland, OH*
• September 24 - Emo’s - Austin, TX*
• September 27 - The Cooperage - Milwaukee, WI
• September 28 - Icehouse - Minneapolis, MN
• September 29 - James Theater - Iowa City, IA
• October 19 - WWWX, Tokyo, JP
• October 20 - Billboard Live Osaka, Osaka, JP
• November 01 - Alte Feuerwache, Mannheim, DE
• November 02 - E-werk - Erlangen, DE
• November 03 - Uberjazz Festival, Hamburg, DE
• November 04 - BIRD, Rotterdam, NL
• November 07 - Jassmine, Warsaw, PL
• November 09 - UT Connewitz - Leipzig, DE
• November 10 - Alcazar, Rome, IT
• November 11 - Locomotiv Club, Bologna, IT
• November 12 - Magnolia, Milan, IT
• November 14 - Moods, Zürich, CH
• November 15 - Strange Brew, Bristol, UK
• November 16 - Belgrave Music Hall, Leeds, UK
• November 18 - SuperSonic Jazz Paradiso, Amsterdam, NL
• November 21 - AB, Brussels, BE
• November 24 - Sala Paral-lel 62, Barcelona, ES

*Supporting Digable Planets

New Music Releases: Khari Cabral & Jiva Featuring Lizz Wright, Zaime, Cherri V and Reference Point (Compilation)

Khari Cabral & Jiva - Sweet Power Your Embrace (Kai Alcé NDATL Remix) Featuring Lizz Wright

This is a must-listen for fans of neo-soul, jazz, and house music! Khari Cabral & Jiva are back with their single Sweet Power Your Embrace, remixed by none other than Kai Alcé. Featuring the beautiful vocals of soulful jazz singer Lizz Wright, this track is a powerful blend of soulful melodies, lush chords, and a thumping house groove. Let this collaboration take you away on a journey of sensual rhythms and soulful vibes. Sweet Power Your Embrace (Kai Alcé NDATL Remix) is a track that will move your body, touch your heart, and bring a smile to your face. EP Releasing On 01/09/23 Worldwide on Bluey’s Label Splash Blue - Except Japan Who Release On 08/09/23.

Zaimie - Fortuitous (2023)

Released on the sister label to Splash Blue - Splash Music Productions, ‘Fortuitous’ is the incredible debut album from Zaimie. Born from a chance meeting of two talented musicians, Zaidi Kiggundu (Ziggy Funk) and Jamie Mcshane at a music festival, their musical vision has been brought life in the shape of this captivating album. Including performances from top-notch musicians including Ewan Mains, Konrad Wisniewski, and James Steele, Hidden Highs delivers solid grooves and captivating arrangements, showcasing the duo's dedication to their craft. Available on 10 track limited edition vinyl and on digital download and streaming platforms.  

Cherri V - The Red Journal 

London U.K based, singer/songwriter Cherri Voncelle, has released her highly anticipated debut album, The Red Journal. The album takes listeners on an emotional and introspective voyage, delving into the artist's personal journal entries from 2019 to 2023 narrated by Bea Anderson, Triple O & Jessie J. With a captivating blend of soul, R&B, and acoustic melodies, Cherri Voncelle courageously shares her experiences of overcoming sexual abuse, transitioning out of a marriage, self reflections, navigating the complexities of dating and situationships, and ultimately finding love again. The album showcases collaborations with Producer PRGRSHN and songwriter Savannah Jada as well as musicians Jason Bond, Jack Shepperd, Lawrence Insula, Joseph Whettam and Alex Montague. The Red Journal is a raw and intimate musical exploration that serves as a testament to Cherri’s resilience and unwavering spirit.  The album's honesty and sincerity provide a beacon of hope and inspiration for those who have faced similar challenges and are on their own paths to healing.  

Reference Point (Compilation)

A really wicked compilation, of the sort that BBE first started doing back in the day – a mix of records that spans both scenes and generations, yet which come together with a beautifully integrated vibe! There's a warmth here that's undeniable – currents of jazz, Brazilian, acoustic soul, and more – all wrapped up with a sunny vibe that really makes the whole thing soar wonderfully, as strange musical bedfellows really find a great space to play together that's full of imagination, spirit, and plenty of soul! Titles include "Factory Rhythms" by Jr Quintet, "Life" by Bugs Beddow, "I Had A Friend" by Peter Gallway, "Palavras" by Caixa Cubo, "Mystery Of You" by Jeff Scott, "Place In Space" by Joe Thomas, "Heaven" by Crosswind, "Como Aprendi A Soportar Tus Inseguridades, "Easter Suite (edit)" by John Standefer & Friends, "California (Shawn Lee mix)" by Kirk Reed, "Make The Call (ext version)" by MF Robots, "Smile Upon Your Brother" by Ambassador College Band & New World Singers, and "I Know (demo version)" by Astronauts Etc.  ~Dusty Groove

Jewel Bass' first compilation, "On And Out Of Love"

Jewel Bass´ first LP compilation, including all her Malaco sessions. 13 songs in total, 7 of them originally unreleased.

Jewel Bass’ recordings have, over time, developed a global underground following.

The fact that Malaco Records used Jewel as a backing singer on so many of their A-Listers recordings (Johnnie Taylor, Latimore, Bobby Bland, Z.Z. Hill, Dorothy Moore, etc.) speaks far more to her talent than I can ever write in 300 words!

Jewel started singing in church but began her career in secular music when a friend approached her to ask if she would replace a singer in his band who was ill. She was only required for one song, and she agreed to do the gig on a one-off basis to help out. It was all that was needed to start her career. She joined the band and went on the road with them.

Then, in 1969 she joined Malaco as a backing singer. During her time there, she had four singles released in her own name, starting in 1973 with “I Tried It And I Liked It” – essentially ‘Mr. Big Stuff Part 2’ (Jean Knight had recorded the original song at Malaco in 1971). Three further singles followed.

Jewel also sang in a number of groups over the years and toured extensively, first with The VIPs (1973), later Polephemus (1976), and from 1979 onwards with These Days. Then there were her immense vocals on late 70s projects like the Carbon Copies “grail” 45 “Just Don’t Love You”, which also featured on the rare Centaura LP with another recording of hers.

Jewel is an artist who is consistently good. She is just as at home singing on a deep soul ballad as she is on a funky dance number.

Back in 2010, southern soul supremo Garry Cape issued all 12 of her Malaco recorded Jewels on a long since deleted CD on Soulscape. Now, thanks to Soul4Real, these tracks are available on this vinyl LP. Additionally, “Sweet High”, a non-Malaco track from 1981, is included as the closing song.

www.firstexperiencerecords.com

New Music Releases: Ed Motta, Veronica Swift, Dan Bonsanti & The 14 Jazz Orchestra and Alabaster DePlume

Ed Motta - Behind The Tea Chronicles

The Brazilian Singer Ed Mottais one of the greats in Jazz / Funk, not only in the South American Music-Scene, but world-wide. He has been one of the leading artistsat the forefront in Brazil with a huge following in his Home-Country and around the world. With his new album “Behind The Tea Chronicles”he embarks on a new musical journey, crossing genres from Jazz to Funk, over to Soul. Having worked with many renowned musicians over the course of his career (Greg Phillinganes, Chucho Valdez, Roy Ayersand many more) he established his own style of creating music with a message. On this latest album Ed Motta is singing in English, telling stories that resonate which a broad audience. Recording the rhythm in Brazil, backing vocals in LA – featuring the legendary Paulette McWilliams and Phillip Ingram – strings in Prague and horns in Detroit, he worked with the best musicians he could find to find an astonishing sound, that will be recognised by the audiophile audience as top of the class. Being recordedwith the highest standard, Ed Motta made sure to raise the bar ones more. ~ firstexperience.com

Veronica Swift - Veronica Swift

Vocal sensation Veronica Swift took the jazz world by storm with her critically acclaimed 2021 release This Bitter Earth, landing on the cover of DownBeat, topping the year end lists for vocal releases and wowing audiences with her eclectic stage show at the Hollywood Bowl and beyond. For her new album – aptly entitled Veronica Swift – the versatile artist stretches her wings and opens up her wide range of influences to share who she truly is: a once-in-a-generation vocalist with unabashed confidence.

Dan Bonsanti & The 14 Jazz Orchestra - Islands

On Islands, composer and arranger Dan Bonsanti and his band, The 14 Jazz Orchestra, once again present a collection of swinging, contemporary jazz arrangements of 11 straightahead, pop, and fusion compositions by modern masters. This is the fourth release by Bonsanti and the group, following Cartoon Bebop (2020), The Future Ain't What It Used to Be (2018) and Nothing Hard Is Ever Easy (2015). The Art Music Lounge said about Cartoon Bebop, “Bonsanti has a terrific ear for color and balance; he likes to keep his big bands “light,” playing with the streamlined sound of, say, an octet at most, and his soloists on this CD—both the regulars and the stand-ins—are nothing short of terrific.” Islands is another fun and engaging outing from Dan Bonsanti and the first-rate group of musicians that comprise the 14 Jazz Orchestra. Whatever the musical style Bonsanti tackles, his arrangements are always colorful and richly textured.

Alabaster DePlume - Come With Fierce Grace

A stunning achievement as a leader from Alabaster DePlume – material that's maybe some of the most powerful he's ever given us, even though the core of the record comes from the same sessions as his previous album, Gold! As with that record, the material here was originally performed at the Total Refreshment Centre in London, but is then completely transformed by DePlume as he works his way through the recordings – shifting things around, changing up the original sounds, and letting the selection and mixing process create the album's sound in the best International Anthem style – but also at a level that showcases DePlume's compositional ear! Alabaster plays tenor, guitar, and keyboards – and other musicians include James Howard on guitar, Tom Herbert on bass, and Sarathy Korwar on drums and tablas – and there's a number of other voices who drift through the mix as well, sometimes with full lyrical contributions, sometimes in more subtle ways. Titles include "Did You Know", "Levels Of Human", "Not Even Sobbing", "Sibomandi", "Greek Honey Slick", "Broken Again", "Naked Like Water", "The Best Thing In The World", and "To That Voice & Say". ~ Dusty Groove

Aphrose | "Roses "

Aphrose reveals her sophomore album, ‘Roses,’ a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto’s best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, ‘Roses’ remains firmly rooted in Aphrose’s signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. ‘Roses’ weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the ‘Aphrose sound,’ reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, ‘Roses,’ which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose’s ancestors, particularly her late Grandmother Rose. Following suit is ‘YaYa,’ also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album’s third track, ‘Heavenly Father,’ offers a brief interlude featuring a recording of Aphrose’s Grandmother Rose engaged in prayer, setting the tone for the subsequent track, ‘In The Time Of Sorrow.’ This contemplative, chill piece captures Aphrose’s musings on navigating a world often shrouded in fakery, while craving authenticity. ‘Honey (Don’t) Come Back’ seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. ‘What You Don’t See’ strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship’s sad ending.

The B-side opens with the evocative ‘Weapons,’ featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. ‘Chop The Cake’ acts as a breather, interlude-style, easing the intensity. ‘Soft Nuclear’ channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. ‘Good Love,’ released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. ‘Higher’ stands as Aphrose’s tribute to Prince, capturing the essence of his music within its hook and production. The album’s culmination arrives with ‘ZAG,’ an acronym derived from Aphrose’s daughter’s name, commencing with the sound of her daughter’s heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

‘Roses’ stands as Aphrose’s homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. ‘Roses’ is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

firstexperiencerecords.com

Multi-Award Winning Singer-Songwriter-Producer-Author, ERIC ROBERSON Releases New Single, "I APOLOGIZE"

"I Apologize" was written and produced by Eric Roberson, Jairus Mozee, Brett "B Dubb" Baker and Rodney Jones. "The song is inspired by the creative gumbo that feeds my music. The theatrical musicality of Stevie Wonder, heartfelt word play of Commissioned and the unapologetic low end approach of A Tribe Called Quest," mentions Eric Roberson.

"I Apologize," is the second single to be released of a series of songs that are forthcoming. For the remainder of 2023, Eric Roberson will continue to wet the palates of fans and music lovers abroad, as he prepares to release a new song every month. This past June, In celebration of Black Music Month, Billboard Magazine provided Eric Roberson with the honor to be a guest columnist and write a column in celebration of the independent movement. The column provided five steps to a rewarding independent artist career.

Whether over the course of his seventeen beloved LPs (2001’s The Esoteric Movement to 2022’s Lessons) or through songwriting/production/vocal collaborations with the likes of Jill Scott, Dwele, Musiq Soulchild, Vivian Green, DJ Jazzy Jeff, DJ Spinna and others, fine-tuned R&B music ears have come to recognize and make a somewhat spiritual connection with his everyday relatable, multi-influenced vibe which mirrors their own lives and experiences. “It’s R&B and soul music, but I’m a hip-hop dude,” Eric replies, of his influences as it relates to his music’s appeal.

Indeed, nothing less than heartfelt gratitude for the blessing of being able to continue releasing music through his very own Blue Erro Soul Entertainment, as well as accolades which have included two successive Grammy nominations for “Best Urban/Alternative Performance” (for “A Tale of two” in 2010; “Still” in 2011), a BET J Virtual Award for “Underground Artist of the Year” (2008), being distinguished as the first independent artist to be nominated for a BET Award in 2007 and sold-out tours throughout the world is what makes Eric Roberson, "The Soul Man himself".

As a GRAMMY Award-nominee, Singer, Songwriter, Producer and Howard University alum, Eric Roberson continues to break boundaries as an independent artist in an industry dominated by major labels, manufactured sounds and mainstream radio. Eric has achieved major milestones in his career, from being a successful songwriter and producer for notable artists such as Jill Scott, Musiq Soulchild, Dwele, Vivian Green and countless others, to headlining sold out tours across the country.

Eric is celebrating over twenty years as an independent artist, creating “Honest Music” since 2001, which has afforded him the artistic freedom that isn’t typically offered in the mainstream music industry.

In 2020, Eric used this unprecedented time of solitude from the world to immerse himself creatively. With this, he created a powerful album, entitled “Hear from Here”, a musical cry out to its listeners who longed for a sound of hope. Roberson describes “Hear from Here” as an “act of service” to his devoted fans. In 2022, Mr. Soul himself, released his 17th studio album, "Lessons" to rave reviews. The album has gone to become a fan-favorite around the world. He later recorded the TOP 20 Billboard R&B song, "Lessons" (Remix) featuring Anthony Hamilton, Raheem DeVaughn and Kevin Ross to instant success. This superstar collaboration led to a surprise performance appearance at Verzuz battle featuring Anthony Hamilton and Musiq Soulchild, which left soul-music aficionados wanting more. He also recently released his first book, "LESSONS" (100 Thoughts on Life & Love).

Eric is a former Professor at the legendary Berklee College of Music in Boston. When asked about the position he stated that, “It was an opportunity that I couldn’t refuse. I truly believe that at all times we are teachers and students. I not only love teaching the students but learning from them as well.”

In 2017, Eric created “The Process”, a forum in which he invites fans to navigate through his creative experience. It allows fans to listen and comment to unreleased songs, thereby being a part of the “process” of making music. “We are losing so much of the culture that went with listening to music. Letting the fans watch us create the albums was our way of bringing some of the old music culture back.” says Eric.

Spherical, a lost New York recording session w/Bernie Worrell, Cindy Blackman Santana and John King

How often do you walk into a situation without knowing what will happen? Do you fear it? Or do you embrace it? The unknown is a ubiquitous phenomenon that can be found in the essence of a person, place, or thing. Many musicians welcome musical situations where they are unaware of what will happen. That could be during improvising or performing with musicians for the first time. Both take an incredible amount of vulnerability and trust. The unknown seems to drive them into a space and time that controls them, not the other way around. And more than likely, that’s what they want it to do. Musicians prefer the unknown to utilize them as vessels to reach their audience or even to experience their own liberation.

The concept of Spherical was unknown. The only thing that John King knew was that he wanted this album to be rock, funk, blues, noise, and experimental, and so by instinct, Cindy Blackman and Bernie Worrell were the perfect musicians for accomplishing this. It’s one thing to understand the level of expertise behind each musician, but you could never predict what would happen if you put them together in one room. They found funk, rock, the blues, and an abundance of trust, within an eight hour improvised recording session in 1994 at Baby Monster Studios in New York. It was at this moment they went on a ride to the unknown.

There were no expectations or preconceived notions about what the outcome of their creations would be that day. It was only the conviction between these three musicians to create something unknown. That conviction is what audiences feel while listening to this record. The music does not attempt to articulate what they should feel, nor does it simultaneously take every listener to the same place. This reason is why the unknown is ubiquitous and even malleable. The trio lay into the depths of a sphere, and the music reaches the surface in every direction to find us listeners, wherever we are. The music places us in passenger seats, drawing us into the core like a gravitational pull. Unsurprisingly, being without expectations meant that this three-dimensional power trio would take the music into liberating spaces.

It’s an impressive, yet unintentional, stunt when a power trio makes you question if there was a touch of overdubbing. These three musicians, who are all powerhouses in their own right, transformed vague ideas of riffs and melodies into a melting pot of their genius. The humble King constructs sonic walls using a plethora of processed effects from amplitude modulators, phase shifters, delays, fuzz/distortion pedals, and a wah pedal. The wall he builds is where you’ll hear Muddy Waters and Jimi Hendrix, two of his earliest influences. He compliments the boldness that Cindy Blackman brings to the session as a drummer with hardcore rock and jazz chops. At times, her right foot on the kick in ‘Stomp Time Shuffle’ seemed to want to fly away, playing on the off beats of 16th notes. She had worked with Worrell before, but had only met King briefly before this session a few months prior. She immediately conveyed her trust in him by kicking off the first tune of the album called ‘Future-Blues’ with an explosive drum fill instead of a traditional count-off. It’s the perfect album intro. In the spirit of trust, she didn’t reveal what was coming when they asked for a count off. She makes a simple yet valuable statement that students of improvisation should remember —“trust your bandmates”.

An innovative mastermind on what we refer to as vintage synths, Bernie Worrell’s talents stretch far beyond funk. Just a few days after learning about the passing of his mother, Worrell expressed his feelings into the Clavinet, B3 organ, and a synthesizer. Worrell’s Hammond B3 opening solo on ‘Sunday Sunrise’ begins in outer space. Yet, that gravitational pull at the core of this sphere takes us back to the blues and gospel. The synth patch that Worrell uses for his solo on ‘Unfunkingstoppabble’ is so calming and meditative that, for a moment, you forget that this is probably the edgiest song on the album. King describes how Worrell played a single note on the Clavinet that resonated the walls and made him feel the entire history of funk. The only way for this album to ever exist was for all three musicians to put their trust in the unknown.

Interestingly, the unknown embraced this project by manifesting itself into a domain of the lost, otherwise known as... an unknown space. The lost and found is a mesmerizing place that exists because we simply overlook it. This project had been missing for 29 years until John King found it in a place we’re all too familiar with, in a box of unlabeled CDs, cassette tapes, and DAT tapes. During a time of cleansing, the lost was now found. Perhaps Spherical’s whereabouts were unknown because sometimes life has its own timelines, which can be distracting. Is it possible that music does, too? Conceivably, the music was ahead of its time and wanted to be known when it was this time. And maybe, this time is the right time to be known.

—JoVia L. Armstrong

Craft Recordings’ acclaimed 'Small Batch' vinyl series returns with Thelonious Monk’s 'Brilliant Corners'

Craft Recordings’ acclaimed Small Batch vinyl series returns with an audiophile pressing of Thelonious Monk’s Brilliant Corners. A landmark title in the pianist’s celebrated catalog, the 1957 album not only introduces several Monk originals, but also features an all-star line-up of talent, including Sonny Rollins, Max Roach, and Paul Chambers. Shipping September 8th and limited to just 4,000 copies worldwide.

Handpicked from Craft’s extensive catalog, each Small Batch release offers discerning listeners the highest-quality, authentic sound – distilled to its purest form. As with all albums in the series, Brilliant Corners features lacquers cut from the original tapes (AAA) by Bernie Grundman and pressed on 180-gram vinyl at RTI using Neotech’s VR900 compound. This one-step lacquer process (as opposed to the standard three-step process) allows for the utmost level of musical detail, clarity, and dynamics while reducing the amount of surface noise on the record. The limited nature of these pressings guarantees that each record is a true representation of the original lacquer and is as close as the listener can get to the original recording.                                                                                                                           

Each copy is individually numbered and encased in a foil-stamped, linen-wrapped slipcase featuring an acrylic inset of the original artwork. The vinyl disc ­– extractable through a unique, frictionless ribbon pull tab – is housed in a reproduction of the album’s original tip-on jacket from Riverside Records and protected by an archival-quality, anti-static, non-scratching inner sleeve. New liner notes from the GRAMMY® Award-winning music historian, journalist, and producer, Ashley Kahn complete the package.

Since launching in 2020, the Small Batch series has drawn accolades from both sides of the Atlantic. Speaking to The Vince Guaraldi Trio’s Jazz Impressions of Black Orpheus, Marc Mickelson of Audio Beat hailed it as “[One] of the very best reissues I’ve come across. . . . It was created with extreme care, and it lives up to the goal of being closer in sound to master tape. It’s an LP with music and sound to savor.” Analog Planet’s Mark Smotroff called Relaxin’ with the Miles Davis Quintet “A wonderfully open-sounding record…I felt I was getting a nice sense of what the original recording – and the original records – sounded like, yet with the sonic benefits of Grundman’s mastering touch.” Reviewing Yusef Lateef’s Eastern Sounds, Dan Margolis at DownBeat simply declared “The music is amazing,” while Jamie Atkins at Record Collector praised John Coltrane’s Lush Life, noting, “Craft have done a superlative job; the packaging is elegant and the sound is flawless. . . . There’s a depth and vivacity that brings out the best in these sessions.”

“A classic album should be both era- and genre-defining,” argues Ashley Kahn. “Thelonious Monk, who released LPs for an 18-year run from 1952 to ’71, ultimately delivered more than one. But there’s no question which was his first true classic – the one that still checks off all the boxes and continues to serve as a worthy introduction to his musical legacy. It is Brilliant Corners.”

A brilliant, eccentric, and prolific pianist, Thelonious Sphere Monk (1917–1982) was a transformative figure in jazz music. One of the genre’s most recorded artists (second only to Duke Ellington), Monk has long been revered for his enduring compositions (including multiple jazz standards), his unorthodox melodic structures, and his revolutionary approach to the piano.

When Monk signed to Riverside Records in 1955, however, he was struggling to capture mainstream audiences. It had been nearly a decade since his earliest sessions as a leader (including titles under Blue Note and Prestige Records) and while he was well respected by critics and peers, commercial success continued to elude him – a concern that was further compounded by the loss of his New York City cabaret card, which forbade him from headlining clubs in the city. But soon, his fortunes would change.

Brilliant Corners was recorded during three sessions at New York’s Reeves Sound Studio, beginning on October 9, 1956, just one day before Monk’s 40th birthday. With Riverside co-founder Orrin Keepnews serving as producer, Monk recorded in two different quintet settings. The first featured tenor saxophonist Sonny Rollins (then a fast-rising star), alto saxophonist Ernie Henry, bassist Oscar Pettiford, and bebop pioneer Max Roach on drums. Together, they debuted two tributes to the pianist’s friend and patron, Baroness Nica de Koenigswarter: “Ba-lue Bolivar Ba-lues-are” and “Pannonica” (featuring Monk on the celesta). Several days later, the group reconvened to record another Monk original, “Brilliant Corners.”

The final session, captured in December, featured Rollins and Roach, with the addition of bassist Paul Chambers and trumpeter Clark Terry. Monk led the musicians through “Bemsha Swing,” an original co-written with bassist Denzil Best, which debuted on record in 1952. Monk also delivered one solo performance, selecting Harry Barris’ classic ballad, “I Surrender, Dear.”

Released in April 1957, Brilliant Corners was transformative for Monk’s career, delivering him a major comeback. The album was met with wide acclaim, including from DownBeat’s Nat Hentoff, who proclaimed it “Riverside’s most important modern jazz LP to date.” Within months, Monk’s cabaret card was reinstated. That summer, he had a standing engagement at The Five Spot with John Coltrane, which became the hottest ticket in town. Later that year, Monk released two more acclaimed albums on Riverside: Thelonious Himself and Monk’s Music, while DownBeat declared Brilliant Corners to be “1957’s most praised LP.” In 2003, the album was among the first 50 recordings chosen for the Library of Congress’s National Recording Registry, while over the decades, Brilliant Corners has ranked regularly as an essential jazz title.