Steve Turre | Sanyas

Throughout 2024, Smoke Jazz Club is celebrating its 25th anniversary, its post-pandemic rebirth and renovation, and the first decade of its record label, Smoke Sessions, with a series of live recordings by some of the acclaimed artists who have called the club home. The latest entry in the series is historic for another reason – Sanyas, due out June 28, marks the first live album as a leader from legendary trombonist and shell master Steve Turre, a landmark in a career spanning more than 50 years. 

Recorded over an electrifying weekend at Smoke Jazz Club, Sanyas boasts a dream all-star band that continues the mission of Turre’s previous Smoke Sessions release, Generations, in bringing together stellar artists from multiple generations. Turre is joined by elders in the form of the iconic rhythm section of bassist Buster Williams and drummer Lenny White; modern masters trumpeter Nicholas Payton and tenor saxophonist Ron Blake; and the rapidly rising star Isaiah J. Thompson on piano. 

“I’ve been playing at Smoke since the beginning when they were just getting started,” Turre recalls. “Even before that, I played at the club [in its former guise as] Augie’s. I've watched it grow to become one of the major authentic jazz rooms in the city.” 

Though Sanyas provides a welcome and long-overdue opportunity to hear Turre lead a band onstage, he’s been involved in no shortage of live recordings over the course of his half-century career, many of which trace his work with jazz’s most revered names. 

They include Live at the 6th Tokyo Music Joy, the only meeting on record between the Art Ensemble of Chicago and Lester Bowie’s Brass Fantasy; Dizzy Gillespie’s Grammy-winning Live at the Royal Festival Hall; McCoy Tyner’s Uptown/Downtown, from the Blue Note in NYC; Mariah Carey’s MTV Unplugged special; Charles Fambrough’s Blues at Bradley’s; and Turre’s own personal favorite, Woody Shaw’s Master of the Art. And of course he’s been heard and seen most weekends as part of the Saturday Night Live house band for almost 40 years. 

The title track of Sanyas is also significant for harkening back nearly to the dawn of Turre’s career. “Sanyas” was originally recorded by Woody Shaw on the trumpeter’s 1975 album The Moontrane, becoming the trombonist’s first composition and first solo on record. He later reprised the piece on his own 1991 album, Right There. The name comes from Hindu spiritual practice, though Turre’s composition was inspired by the bright orange robes worn by the Sanyasi, monks who have renounced worldly goods and pursuits. 

“Different harmonies or rhythms evoke different colors,” the composer says. “All the musicians on this album are master musicians, so I thought it would be interesting to revisit the tune for a fresh interpretation and see what these masters would bring to it.” 

The results burst with vibrant colors of their own, opening with an explosion of sound from the horns over a surging rhythmic foundation. The tumult quiets for an entrancing, dark-hued, unaccompanied solo by Williams; Blake’s quicksilver turn is later bookended by Turre on first trombone and later shells, showcasing his virtuosity on both instruments. 

The classic “All the Things You Are” is given an uncharacteristically brisk treatment, it’s stop-start rhythm tailored to White’s nimble percussive responses. All three horns take solos that expand on the standard’s indelible melody, lyrical even at this accelerated tempo. The album’s second standard (available only on CD and digital editions) is a breezy, gently funky take on “These Foolish Things,” with Turre approaching the tune with the engaging spirit of a vocalist. 

Lee Morgan’s “Mr. Kenyatta” corrals the three-horn frontline atop a bold groove, spurring a fiery Payton solo stoked by White’s pointed accents. Turre follows with a tightly coiled outing, then Blake, speaking in tongues, over a brass fanfare before Turre returns to the shells for a staggering, breathy pronouncement. 

Turre’s second original contribution is a new ballad entitled “Wishful Thinking.” Beautiful and wistful, the tune opens with the trombonist at his most elegant, the melody passed to an equally graceful Payton over Thompson’s poignant keyboard work. The pianist more than holds his own with this band of giants; his dazzling solo here is an emotional highlight. 

Live albums, at their best, capture lightning in a bottle. Sanyas is rich with that feeling of electricity and spontaneity, a first-time meeting edged with risk-taking but stunning in the conversation between six masters. Turre praised the setting, Smoke Jazz Club, for its adherence to and celebration of the jazz tradition, but it’s clear from the excitement shared by band and audience alike that in his view, “tradition” doesn’t equate to a lack of adventure or challenge. 

“There's a difference between extending tradition and feeling the need to break with tradition,” he concludes. “I'm a firm believer that you don't have to try to be different. You just have to be yourself, which is hard to do. That's where the magic comes in.”

Matthew McDonald | The Long Wait

If you’re a bandleader on the scene hearing trombone for your ensemble, the name Matthew McDonald is surely in your phone, and at the top of your list. The Lincoln Center Jazz Orchestra under the direction of Wynton Marsalis, The Christian McBride Big Band, the Ted Nash Big Band, the Roy Hargrove Big Band, the Max Weinberg Big Band, The Vanguard Jazz Orchestra, The Manuel Valera Big Band, The Dan Pugach Big Band, and many others, have all called upon a man who has great command of, and artistry and expression with, about nine feet of tubing, a slide and a bell, aka the trombone. 

His versatility, creative open mindedness, and his other great skill, composing, is displayed in abundance on his new album, and his first for Brooklyn Jazz Underground Records, The Long Wait. The album is a musical expression of living in a complicated, fast-paced, but always interesting metropolis that is New York City. The album’s title also expresses the fact that it was written during the long period of isolation we collectively experienced in 2020. The Long Wait is a tour-de-force, with a depth and breadth of styles, feels, passion, joy and virtuosity. All of the qualities that have McDonald’s phone ringing off the hook are here, and then some . . . 

"Liebish" is a tribute to the incredible depth of the scene in New York, where legends roam, and rising stars often cross paths with some of the greatest musical minds of the art form. In this case, the great David Liebman, “who opened my world up to endless musical possibilities,” said McDonald. "Night Scenes" and "Afterwards" are musical reflections of, “how overcoming mental and physical struggles have helped me become more confident and sure-footed in life,” stated McDonald. "Dealin'', "In the Heights", and "A Wee Bit of Fun," all attempt to paint a picture of day to day life in a city which seems to be both frenetic and chaotic, but also hopeful and inspiring. McDonald comments on two compositions near and dear to his heart, “’A Chance Encounter’" and ‘Feng-I’, dedicated to my wife Emily (Feng-I), provide a softer side to the album and express the wonderful encounters that are possible throughout this city and in life. Finally, "Going Back, Moving Forward," is a rumination that sometimes one has to deal with the past before we are allowed to move forward to the next experience. McDonald elaborated, that, “it has been a great pleasure for me to create this music, and I sincerely hope that you enjoy it now that the long wait is over.”

Trombonist Matt McDonald has performed at numerous jazz festivals and venues around the world, including North Sea, Montreux, Umbria, Spoleto, and Ottawa Jazz Festivals, as well as, The Village Vanguard, The Blue Note, Birdland, The Jazz Standard, Smalls, Carnegie Hall, and many other prestigious venues.

Since moving to New York in 2003, he has performed with countless ensembles (mentioned above), and also the Mambo Legends Orchestra, Shaggy, Little Steven and Disciples of Soul, The Temptations, The Four Tops, Danny Seraphine’s “CTA” and Zafem. McDonald has been invited to Manizales and Medellin, Colombia to perform as one of the “Promising Artists of the 21st Century.” He also curated a very successful jazz series in Harlem at “Silvana” for over a decade, featuring some of the most versatile musicians in NYC. McDonald received his Bachelor of Music at DePaul University in Chicago, his Masters of Music from the Manhattan School of Music, as well as receiving his Artist Diploma from the Juilliard School, studying with Wycliffe Gordon.

Upcoming Appearances:

• May 23 – Manuel Valera Big Band, Terraza 7, Queens, NY
• May 24 – Matthew McDonald CD Release Celebration, Silvana, NYC
• June 16 – Terraza Big Band, Terraza 7, Queens, NY
• June 16 – Peter Louis, Shrine World Music Venue, NYC
• June 25 – NY Jazzharmonic, Washington Sq. Park, NYC
• June 30 – Band of Bones, Chris & St. Stephen's Church, NYC
• July 6 – Max Seigel Nonet, Deer Head Inn, Delaware Water Gap, PA
• July 14 – Peter Louis, Shrine World Music Venue, NYC
• July 22 – John Eckert Nonet, Westbeth, NYC
• August 25 - Peter Louis, Shrine World Music Venue, NYC

Ghost-Note | Mustard n’Onions

Written by Sput in the image of his ‘70s soul favorites – Tower of Power, Sly and the Family Stone, and Parliament-Funkadelic – the single features explosive guitar work from blues-rock god Eric Gales. The tune is fever-pitch funk, with an atmosphere of sweet, personal nostalgia just underneath: “When this music was being created in the ’70s,” Sput explains, “I was pulling at my grandma’s curtains when she was babysitting me, ’cause I wanted to look out the window.”

Also along for the funky ride of Mustard n’Onions is a who’s who of groove-music greats. Most moving is the presence of R&B/jazz hero Bernard Wright (1963-2022), whose performances on three tracks would be some of his final recorded appearances. Other guests on Mustard n’Onions include Karl Denson, founding Robert Glasper Experiment member Casey Benjamin, Snarky Puppy standouts Mark Lettieri and Jay Jennings, pedal-steel luminary Travis Toy, electric-bass GOAT Marcus Miller, and the group’s visionary bass player MonoNeon, who co-wrote the first single “Bad Knees.” 

Well over a decade ago, Sput and Werth found themselves gigging together in the Texas-rooted fusion powerhouse Snarky Puppy — Werth on his creatively, globally curated percussion setup, and Sput on keys and, later, drums. What developed was a great mutual respect and a musical kinship between the two that bordered on telepathy. At a certain point during their ceaseless tour schedule, Sput’s nightly improvised solo began to signify a new pathway. “I got bored taking drum solos,” Sput says, “so I asked Nate to join me. It was like we were finishing each other’s sentences. We did it so well to where fans started coming up and asking, ‘What was the name of that song you and the percussion player were quoting?’” An idea for a beat CD was hatched, which quickly flowered into Ghost-Note — a group that would function less as a “collective” à la Snarky Puppy and more as a dedicated squad.  

Mustard n’Onions presents a story of the ensemble maturing and solidifying and finding their identity. On the band’s freewheeling 2018 release, Swagism, the lineup was still developing and, as Sput explains, “We didn’t have a sound; we didn’t know what we were gonna sound like.” The music on Mustard n’Onions, he says, reflects the firmed-up character of a unit whose “camaraderie and chemistry” have accrued over countless gigs, and nearly every band member has at least one writing credit. Sput remains Ghost-Note’s primary writer and de facto musical director, but he’s now shaping his music for and with his bandmates.    

Mustard n’Onions is out April 19th via Mack Avenue Music Group/Artistry Music. 

Tracklisting:

1. JB’s Out! (Do It Babay) feat. Mackenzie 
2. Move With a Purpose feat. Karl Denson
3. Where’s Danny? 
4. Origins feat. Keith Anderson
5. PoundCake feat. Casey Benjamin
6. Phatbacc 
7. Grandma’s Curtains feat. Eric Gales 
8. Revival Island feat. Travis Toy & Mark Lettieri 
9. Yellow Dan feat. Marcus Miller
10. Bad Knees 
11. Synesthesia
12. Slim Goodie
13. Mustard n’Onions feat. Jay Jennings
14. Origins Reprise 
15. Nard’s Right feat. Bernard Wright

Tour Dates:

• April 5 - Resonate Festival - Suwanee, FL
• April 7 - Jazz in the Park - Houston, TX
• April 14 - First Ward Park - Charlotte, NC
• May 10 - Thunderbird - Pittsburgh, PA
• May 11 - Grog Shop - Cleveland, OH
• May 12 - Rochester Lilac Festival - Rochester, NY
• May 14 - El Club - Detroit, MI
• May 15 - Bell's - Kalamazoo, MI
• May 16 - Chop Shop - Chicago, IL
• May 17 - Dakota - Minneapolis, MN
• June 15 - Juneteenth Celebration - Ft. Worth, TX
• June 28 - Winstons - San Diego, CA
• June 29 - Pappy + Harriet's - Pioneertown, CA
• June 30 - Lodge Room - Los Angeles, CA
• July 4 - Moe's Alley - Santa Cruz, CA
• July 6-7 - High Sierra Music Festival - Quincy, CA
• July 9 - Cornerstone - Berkeley, CA
• July 11 - Neptune Theater - Seattle, WA
• July 12 - The Get Down - Portland, OR
• July 13 - Oregon Country Fair - Veneta, OR
• July 26 - Fuji Rock Festival - Niigata, Japan
• August 2 - The Egg - Albany, NY
• August 3 - Newport Jazz Festival - Newport, RI
• August 5-7 - Blue Note - New York, NY
• August 24 - Mountain Sol Festival - Santa Cruz, CA
• August 25 - Blue Note Summer Sessions - Napa, CA
• September 1 - Detroit Jazz Festival - Detroit, MI

Ari Joshua, Skerik, Delvon Lamarr, & Grant Schroff | Rare Groove

Music Factory Records is excited to announce the release of "Rare Groove," the newest single from an all-star cast of musicians. The single features composer Ari Joshua on guitar, Delvon Lamarr on Hammond organ, Skerik on sax, and Grant Schroff on drums. 

The timeless quartet form a tight-knit ensemble with the ease and comfort of a familiar local crew. As with the previous batch of releases, the whole band plays as one unit. Lamarr’s warm organ sound and the light crunch of Joshua’s guitar sit above the rhythm section locked in the pocket. Skerik’s stellar saxophone phrasing paints vivid pictures all around the groove. 

For this recording, the sources of the fat tone are at once in the instruments, the hands of the players, and a rare form of recording process. Only high-quality ‘vintage only’ audio equipment was used both by Studio Soli for tracking & by Blue Mallard Studios for all the mixing. Mastering was done by Doug Kreb’s Mastering Company and the artwork created by Deep Groove Designs. The bass line, guitar riffs, and sax lines come together to create a sonic masterpiece that moves listeners to the groove — from start to finish.

With over a quarter of a million spins thanks to editorial recommendations from Apple Music, Spotify, and other streaming sites, the first tracks from this album have been well-received. ‘Soulmine’, ‘Fresh’, ‘Spooky’, & ‘Say Whatcha Wanna Say’ from the last batch of releases were featured on a handful of radio stations, magazines, & podcasts. 

Ari Joshua is on a mission to release 24 songs in 2024. Building on the success of last month's releases “Country Stroll”, and “Elephant Walk” featuring the iconic John Medeski and Billy Martin, “Rare Groove” continues the organ funk and groove theme in Joshua’s recent releases.

Nina Simone’s Early Recordings Reissued in Comprehensive 107-Track Collection

Renowned for her distinctive voice and unparalleled musical versatility, Nina Simone's early recordings are being celebrated in an expansive reissue. With an astounding 107 tracks covering over seven hours of music, this collection encompasses her formative years at Colpix Records, presenting the original albums The Amazing Nina Simone (1959), Nina Simone at Town Hall (1959), Nina at Newport (1960), Forbidden Fruit (1961), Nina at the Village Gate (1962), Nina Simone Sings Ellington (1962), Nina Simone at Carnegie Hall (1963), and Folksy Nina (recorded in 1963, released in 1964). Additionally, the set includes 29 bonus tracks consisting of single edits, non-LP sides, and a wealth of other material unearthed from the Colpix tape vaults in the early 2000s.

This collection showcases Simone’s first interpretations of classics such as Wild Is The Wind, I Want A Little Sugar In My Bowl, Nobody Knows You When You’re Down And Out, and Sinner Man—key tracks that she would revisit in later albums after her tenure with Colpix ended. It also features a diverse array of material, from the emotive torch songs You Can Have Him and The Other Woman to the gospel-flavored Children Go Where I Send You, and a later version of Simone’s first US breakthrough hit I Loves You Porgy. Her unique takes on folk songs like Cotton Eyed Joe, Little Liza Jane, and Black Is The Colour Of My True Love’s Hair further illustrate her eclecticism and artistry.

The reissue benefits from stellar remastering by Nick Robbins, ensuring that each track is presented with the highest audio fidelity. The exemplary artwork design by Tony Hodsoll adds a visual charm that complements the musical richness.

In addition to the music, the collection features a personal essay by Aaron Overfield, Simone’s official archivist, offering an intimate glimpse into her life and work. Renowned film producer and storyteller Nia Hill, who serves as the librettist of the opera Nina Simone’s Absurde, provides insightful commentary that contextualizes Simone's cultural and musical impact. Historian and SoulMusic Records’ reissue producer David Nathan, who founded the first UK Appreciation Society for Nina Simone in 1965, contributes extensive notes that detail the significance of Simone's recordings during this period.

This essential reissue not only honors Nina Simone’s early career but also offers a comprehensive look at her development as an artist. It captures the essence of a legendary performer who seamlessly blended genres and transcended musical boundaries, leaving an indelible mark on the world of music. For fans and new listeners alike, this collection is a testament to Simone's enduring legacy and unparalleled contribution to the arts.

Maurice White's Final Recordings: 'Manifestation' Released on Omnivore Recordings

In association with SoulMusic Records and Platinum Garage Recordings, Omnivore Recordings proudly presents the final recordings of Maurice White, the legendary founder of Earth, Wind & Fire and Grammy Lifetime Achievement Award-winner. The album, titled Manifestation, showcases the musical genius of White and his long-time collaborator, award-winning producer Preston Glass.

Maurice White, whose career spanned over four decades, is celebrated for his innovative contributions to music, particularly through his work with Earth, Wind & Fire. In 1985, White released a self-titled solo album that marked a significant milestone in his illustrious career. Two years later, while recording Earth, Wind & Fire’s 1987 album Touch The World, White shared the producer’s chair with Preston Glass. Their collaboration yielded the chart-topping hit “System Of Survival,” which marked the beginning of a songwriting partnership that would endure for nearly 30 years.

Their creative synergy resulted in numerous tracks that highlighted White's unique ability to blend soulful melodies with profound lyrics, a hallmark of Earth, Wind & Fire’s timeless sound. This partnership continued to thrive until White's passing in February 2016. In 2019, three years after his death, twelve of their collaborative works were released digitally as Manifestation. This collection was fully authorized by Kalimba Entertainment, and produced in cooperation with Platinum Garage Recordings and SoulMusic Records.

The 2024 release of Manifestation on CD by Omnivore Recordings offers a treat for fans with the inclusion of six previously unissued tracks. These newly discovered gems have been remastered by multiple Grammy-winning engineer Michael Graves, ensuring the highest audio quality for listeners. This expanded edition not only honors the legacy of Maurice White but also provides a deeper insight into his creative process and enduring impact on music.

Manifestation is more than just a compilation of songs; it is a testament to Maurice White's visionary artistry and his lifelong dedication to music. The album features new liner notes by British Ambassador of Soul, David Nathan, who provides context and personal anecdotes that enrich the listening experience. These notes offer fans an intimate glimpse into White's musical journey and his collaboration with Preston Glass.

The tracks on Manifestation encapsulate the essence of Maurice White's musical philosophy—an intricate blend of spirituality, social consciousness, and musical innovation. Songs like "System Of Survival" reflect his commitment to addressing societal issues through music, while other tracks showcase his ability to create uplifting, soulful compositions that resonate across generations.

As fans listen to the remastered and previously unreleased tracks on this album, they are reminded of Maurice White's indomitable spirit and his significant contributions to the world of music. Manifestation is not just a tribute to his legacy but a celebration of the timeless music that continues to inspire and uplift.

This release is essential listening for anyone who appreciates the brilliance of Maurice White and the lasting impact of his work with Earth, Wind & Fire. The album stands as a testament to his genius, ensuring that his music will continue to live on and inspire future generations. 

The Salsoul Orchestra: It’s Good For The Soul-The Vince Montana Years (8CD)

SoulMusic Records (SMR) and The Second Disc present the definitive first-ever box set celebrating The Salsoul Orchestra’s groundbreaking albums produced, arranged, and conducted by Vincent Montana, Jr.

Comprising six Salsoul Orchestra albums including collaborations with “First Lady of Salsoul” Carol Williams and “Cuchi-Cuchi” superstar Charo – all generously expanded.

Plus the only album from The Salsoul Strings, rare compilation tracks, and numerous new-to- CD mixes. A total of 103 sizzling tracks including such floor-fillers as ‘Salsoul Hustle’, ‘It’s Good for the Soul’, the epic ‘Magic Bird of Fire’, ‘Run Away’ featuring Loleatta Holloway, ‘Nice ‘n’ Naasty’, ‘Tangerine’, ‘Salsoul 3001’, Carol Williams’ ‘More’, and Charo’s ‘Dance a Little Bit Closer’ and ‘Cuchi-Cuchi’.

Every album features the legendary musicians of Philadelphia’s MFSB including The Trammps’ Earl Young, Bobby Eli, Jack Faith, Norman Harris, Ronnie Baker, Ron Kersey, Charles Collins, Larry Washington, T.J. Tindall, and conductor Vince Montana on the vibes – plus The Sweethearts of Sigma and Don Renaldo’s Horns and Strings with percussion legends Manny

Oquendo, Jerry Gonzalez, and Andy Gonzalez of salsa band Libre join Peter “Choki” Quintero, Osvaldo “Chiwawa” Martinez, and Ray Armando to put the “salsa” in Salsoul!

Remastered by Nick Robbins with artwork by Paul Bevoir and a deluxe booklet including comprehensive, album-by-album notes by The Second Disc’s Joe Marchese drawing on quotes from Vince Montana, Bobby Eli, Carol Williams, Charo, The Sweethearts’ Evette Benton, and Salsoul co-founder Ken Cayre.

Vincent Montana, Jr. played the vibes on such all-time classic records as The Delfonics’ ‘Didn’t I (Blow Your Mind This Time)’ and ‘La-La Means I Love You’, Jerry Butler’s ‘Only the Strong Survive’, Dusty Springfield’s ‘Brand New Me’, and The Intruders’ ‘Cowboys to Girls’. With MFSB, he added his distinctive touch to dozens of favourites from The O’Jays, Harold Melvin and The Blue Notes, Billy Paul, and The Three Degrees.

This definitive box also contains the Salsoul Orchestra’s collaborative albums recorded with Charo and Carol Williams, rare tracks from The Salsoul Strings and the Saturday Night Fever tribute album ‘Saturday Night Dance Party’, and a plethora of remixes from the 1970s through the present day from such illustrious remixers as Tom Moulton, Shep Pettibone, Walter Gibbons, Mike Maurro, Dr. Packer, and Luca Moplen. Truly…it’s good for the soul!

DISC ONE: THE SALSOUL ORCHESTRA

1  Salsoul Hustle

2  Get Happy

3  Chicago Bus Stop (Ooh, I Love It)

4  You’re Just the Right Size

5  Tangerine

6  Tale of Three Cities

7  Salsoul Rainbow

8  Love Letters

Bonus Tracks

9  Salsoul Hustle (Single Version)

10  Tangerine (Single Version)

11  You’re Just the Right Size (Single Version)

12  Chicago Bus Stop (Ooh, I Love It) (Single Version)

13  Salsoul Hustle (Disco Version)

14  Ooh, I Love It (Love Break) (Shep Pettibone Mix)

15  You’re Just the Right Size (Dr. Packer Rework)

16  Ooh, I Love It (Love Break) (Moplen Rework)

DISC TWO: NICE ‘N’ NAASTY (Pt 1)

1  It’s Good for the Soul

2  Nice ‘n’ Naasty

3  It Don’t Have to Be Funky (To Be a Groove)

4  Nightcrawler

5  Don’t Beat Around the Bush

6  Standing and Waiting on Love

7  Salsoul 3001

8  We’ve Only Just Begun/Feelings

9  Ritzy Mambo

10  Jack and Jill

DISC THREE: NICE ‘N’ NAASTY (Pt 2)

“THE SALSOUL ORCHESTRA” THROWBACK

1  Tale of Three Cities (Mike Maurro Mix)

2  Salsoul Rainbow (A Tom Moulton Mix)

NICER ‘N’ NAASTIER

3  Nice ‘n’ Naasty (Single Version)

4  Nightcrawler (Single Version)

5  Salsoul 3001 (UK Single Version)

6  Ritzy Mambo (Single Version)

7  Salsoul 3001 (Single Version)

8  Nice ‘n’ Naasty (Walter Gibbons 12” Disco Mix)

9  Salsoul 3001 (Walter Gibbons 12” Disco Mix)

10  It’s Good for the Soul (Walter Gibbons 12” Disco Mix)

11  It Don’t Have to Be Funky (To Be a Groove) (Tom Moulton 12” Disco Mix)

12  Ritzy Mambo (12” Disco Mix)

13  It’s Good for the Soul (Demarkus Lewis Chocolate Dice Re-Drum Mix)

DISC FOUR: ’LECTRIC LADY – Carol Williams, Music by The Salsoul Orchestra

1  Love Is You

2  This Time May Be The Last Time

3  More

4  Just Feel

5  My Time of Need

6  Come Back

7  Danger Sign

8  Rattlesnake

9  You’re So Much A Part Of Me

Bonus Tracks

10  Love Is You (Single Version)

11  Rattlesnake (Single Version)

12  More of “More” (Disco Version)

13  Come Back (12” Disco Version)

14  More (12” Disco Version)

15  Love Is You (A Tom Moulton Mix)

16  Rattlesnake (Disco Version)

DISC FIVE: MAGIC JOURNEY

1  It’s a New Day

2  Short Shorts

3  Run Away

4  Guantanamera

5  Themes from Montreal Olympics, 1976: Farewell Song & Ballet of the Closing Ceremony

6  Getaway

7  Magic Bird of Fire

8  Journey to Phoebus

9 Alpha Centauri

Bonus Tracks

10  Getaway (Single Version)

11  Magic Bird of Fire (Single Version)

12  Run Away (Single Version)

13  Magic Bird of Fire (Walter Gibbons Disco Madness Remix)

14  Run Away (Danny Krivit Re-Edit)

DISC SIX: CUCHI-CUCHI – Charo and The Salsoul Orchestra

1  Dance a Little Bit Closer

2  Let’s Spend the Night Together

3  Borriquito

4  More of You

5  El Reloj (The Clock)

6  Speedy Gonzalez

7  Cuchi-Cuchi

8  Cookie Jar

9  You’re Just the Right Size

10  Only You (Can Make My Life Worthwhile)

Bonus Tracks

11  Dance a Little Bit Closer (Single Version)

12  Cuchi-Cuchi (Single Version)

13  Dance a Little Bit Closer (12” Version)

14  Cuchi-Cuchi (12” Version)

DISC SEVEN: UP THE YELLOW BRICK ROAD

1  Ease on Down the Road

2  West Side Story Medley

3  Sgt. Pepper’s Lonely Hearts Club Band

4  Fiddler on the Roof Medley

5  Evergreen

Bonus Tracks

6  West Side Encounter/West Side Story (Medley)

7  Evergreen (Single Version)

8  Ease on Down the Road (Single Version)

9  West Side Encounter (12” Disco Version)

DISC EIGHT: HOW DEEP IS YOUR LOVE – The Salsoul Strings

1  How Deep Is Your Love

2  Just the Way You Are

3  You Light Up My Life

4  More Than a Woman

5  Yours

SATURDAY NIGHT DISCO PARTY – The Salsoul Orchestra

6  You Should Be Dancing

7  Night Fever

8  Stayin’ Alive

STILL WANT MORE? WE’VE GOT MORE!

9  Tangerine (Mike Maurro Mix)

10  Salsoul Hustle (A Tom Moulton Mix)

11  More (Single Version) – Carol Williams and The Salsoul Orchestra

Bruno Berle | No Reino Dos Afetos 2

Bruno Berle, the young songwriter and poet originally hailing from Maceió, the capital of Brazil’s Alagoas state, crafts songs that are simple, direct, and full of tender nuance. With his first album No Reino Dos Afetos (which translates to "In the Realm of Affections” and was released in 2022), Berle firmly established himself as a unique and important voice in the burgeoning scene of new Brazilian artists making a global impact, including peers like Ana Frango Elétrico, Tim Bernardes, Bala Desejo, Sessa and more. Now back with his second album, No Reino Dos Afetos 2, he stretches that further.

Bruno Berle’s music lives between two worlds – a traditional Brazilian folk talent steeped in history, and a contemporary, dreamy electronic pop; the result is songwriting that’s genre-bending, intentional, iconoclastic and consuming, spacious and sinewy and singular, a striking reflection of its composer while leaving space for the listener to settle in. The album follows Bruno’s relocation to São Paulo, and the songs are a reflection of his past and present. A rebuke of former categorizations of his work in Brazilian music scenes, and an idea of where his music can move, unfettered.

Berle’s music is purposeful in being a true portrait of himself, and a reflection of the music, art, and fashion scenes he personally moves through. Berle aims to provide an entrypoint for Black queer joy in his music, in his storytelling, in his presence and vision as a creative. For him, it feels subversive to be playing MPB laced with dubstep and lo-fi, a sort of intentional sacrilege, capturing a dialogue of modernity in traditional music.

Berle wrote most of the arrangements and co-produced his new album, Reino Dos Afetos 2 with longtime friend and musical partner Batata Boy, who is also from Maceió; the album was recorded in Rio de Janeiro, Maceió, and São Paulo, his new home, and picks up the conversation begun in 2022 on Berle’s debut album No Reino dos Afetos. Both records are the result of a nonlinear but coherent seven-year music creation process culminating in these albums, holding hands across space and time.

“Tirolirole,” the first single from the record, was released at the end of 2023; sun-soaked rhythms and soft voice coat the song, the lilting refrain of “Tirolirole” throughout – hushed, gentle, but somehow almost tactile, a golden-hour moment unlocked in the mind. “Tirolirole” is a triumphant future classic about the temporality of a blossoming love, with Bruno’s stunning vocal soaring over melodies which ebb and flow like the waters on the Atlantic shore. Of the track, Berle explains: “Despite ‘Tirolirole’ being an expression that evokes my childhood, just like the light words about nature, the harmony, and the poetry are epic, carrying a great hope for love.”

In fact, the guiding theme of No Reino dos Afetos 2 is a relationship, unfolding in the arc of a weekend. It traverses the innocence of an early young love, how that can be formative, can stretch on to take new shapes, or shape you. The album happens at the genesis of meeting someone and falling for them, before the relationship is thrown into overdrive – set in a big city, against a backdrop of major life changes, rising energy, the sound of São Paulo.

Something transcendental emerges in “Dizer Adeus,” with an arrangement that echoes a gospel atmosphere (evangelical and Catholic environments were pivotal to Berle’s upbringing). On “É Só Você Chegar,” piano and flute gracefully intertwine, a dance, while “Quando Penso” skews sparser, the voice-and-guitar minimalism somehow cultivating an entirely different shape – somehow both cozy and melancholy, with the background sound of a rainy day. Coupled with the lo-fi aspects that shape much of the album’s personality in the vocals and the production, No Reino Dos Afetos 2 is meticulously elaborated by Berle’s sonic alchemy, like on the mid-album instrumental “Sonho,” which feels like floating. “It’s the apex. It’s when lovers are sleeping together,” Berle explains of the feeling he wanted to encapsulate in the song.

On “Love Comes Back” Berle interprets Arthur Russell, the late Iowa musician who only reached greater visibility after he died in 1992. “His way of making music is similar to mine,” Berle explains. “He sings in a more fragile way, has more of an experimental way of recording, letting ‘chance’ appear in the final work.”

Even so, Berle doesn’t want his music to be buried in sentimentality – and the purposefulness of his craft serves as a sort of north star. The production, the arrangements, his restraint and intentionality in crafting his songs feel just as vital as their emotional cores. His songwriting is amorphous, fluid, an encompassing genre-bending movement in-and-of-itself, quietly daring. The songs are often in conversation with other works – drinking in fountains as diverse as the filmmaking of Ingmar Bergman, the poetry of Walt Whitman, the rhythm of Djavan, and the painting of Maxwell Alexandre. Musically he weaves together a rich tapestry of Brazilian folk, UK 2-step garage/dub, trip hop and sun soaked west coast songwriters; something akin to the worlds of Milton Nascimento, Arthur Russell, James Blake, Feist, and Sade colliding into one. But even then No Reino Dos Afetos 2 floats separately, a romanticism driven by a simplicity and intimacy, an open-ended possibility, Berle’s singularity as an artist at the helm of the ship.

Groove Frequencies | Night Grooves

It

It's easy to take simple things for granted like an evening out in the city with friends. During his 21 years of service in the U.S. military, Groove Frequencies’ bassist-producer-songwriter John Stewart treasured the rare opportunities that he got to enjoy such mundane pleasures, which is what inspired the group’s fifth album, “Night Grooves.” Stewart wrote and produced the twelve-song set releasing May 31 on the B2j Music label. Three days later, “Don’t Cha Wanna Go Go,” a funky go-go joint, will drop as the first single.

With Stewart and drummer Jay Williams building the foundation of R&B rhythms and funk beats on Groove Frequencies recordings, the groove structures are then illumined by a melodic featured soloist in the form of a jazzy saxophone, keyboard or guitar lead. On the “Night Grooves” album, those players are saxophonists Jimmy Reid and Eddie Baccus Jr., guitarists Clay Benjamin and Tim Perry, and keyboardist Kevin Andre’. Additional contributions on the album come from Billboard hitmaker Greg Manning (keyboards), Parris Spivey (guitar), Vince Wiley (keyboards and organ), Chris Fischer (piano), and Curtis McCain (percussion).  

The vibe is set on the album opener, “The Night Life,” as you hear a group of friends gathered for a fun evening out. Reid’s supercharged sax adds to the celebration. The energy of the city creates the ambience on “On The Run,” which spotlights Benajmin’s cool and crafty electric guitar. The title track takes the tempo down a notch and becomes a showcase for Stewart’s sinewy bass leads and elegant piano noodling.  

The energy kicks back up on “Up On 6th Street,” which gets a jolt from Baccas Jr.’s horn. Stewart said the song “is inspired by the street I grew up near as a young kid. 6th Street was where all the excitement was. You could hear music from all the different establishments playing in the night air.”

The bassist shines on “In The Summer Rain,” which gets a sizzling piano solo from Fischer. Benjamin guides the joyous “Back on the Block,” stirring feelings of familiarity. Stewart explains “‘Back on the Block’ is inspired by the good feeling of being back in a place that you’ve been away from for a long time, but it still feels so familiar to you.”

Baccus Jr.’s sax on “Chill Factor” remains impassioned despite the downtempo groove. Stewart wrote the feelgood tune, saying that it “is inspired by the feeling of calmness and being at ease - in life, in work, and in yourself. It’s about feeling good about who you are and where you are in that place and time.”

Perry’s acoustic guitar fronts “Acoustic Whispers,” which is a personal triumph in and of itself.

“Tim (Perry) inspires me to be thankful for the gift of music. He had an accident a few years ago that affected his ability to play guitar with a pick. He didn’t let the accident deter him or his playing. He just worked hard and learned to play guitar again without a pick. His determination inspired me to write this song and feature his unique playing style,” Stewart revealed.

“Just The Way U Like It” features Andre’s astute jazz piano improvs. Stewart invited Andre’ to perform on the track after seeing him play on Instagram and being amazed by his style. He composed the song specifically as a vehicle for Andre’.

Stewart tasked Reid’s expressive sax with conveying his love and adoration for his granddaughter on “When Harper Smiles.” Next, Benjamin’s guitar skillfully pilots “Let It Flow.”   

“Clay’s guitar technique reminds me of water flowing through a creek, as it rolls effortlessly over the rocks, smoothly as it transitions downstream. That flow is what inspires ‘Let It Flow,’” said Stewart.

The album closes with the percussive go-go beats on “Don’t Cha Wanna Go Go.” Playing lyrical lead basslines on the track, Stewart pays homage to the distinctive DC music style that he discovered while stationed in the DC-Maryland-Virginia area years ago.

The San Antonio-based Stewart has dreamed of making music professionally since he was a teenager. After his military career, he created Groove Frequencies to realize that dream. His unique vision was to make music featuring musicians that he met during his military travels and via social media. The band debuted in 2017 with the “In The Groove” album. The following year, they scored their first Billboard-charting single, “Imagine This,” from their self-titled sophomore album. Stewart hopes that “Night Grooves” will propel Groove Frequencies to new heights.

The “Night Grooves” album contains the following songs: 

• “The Night Life” featuring Jimmy Reid
• “On The Run” featuring Clay Benjamin
• “Night Grooves”
• “Up On 6th Street” featuring Eddie Baccus Jr.
• “In The Summer Rain”
• “Back on the Block” featuring Clay Benjamin
• “Chill Factor” featuring Eddie Baccus Jr.
• “Acoustic Whispers” featuring Tim Perry
• “Just The Way U Like It” featuring Kevin Andre’
• “When Harper Smiles” featuring Jimmy Reid
• “Let It Flow” featuring Clay Benjamin
• “Don’t Cha Wanna Go Go”

 

Renowned House Music Icon Joaquin Joe Claussell Embarks on Ecstatic, Spiritual Club Music Project with Nicola Conte's Umoja

New York City house music legend Joaquin Joe Claussell has ventured into an exhilarating new project that merges the realms of ecstatic and spiritual club music. His latest endeavor involves an ambitious double album featuring reinterpretations of tracks from Italian jazz maestro Nicola Conte's 2023 album, Umoja.

Claussell's innovative collaboration with Nicola Conte and Far Out Recordings commemorates the label’s 30th anniversary. As part of this milestone, Claussell joins an elite group of producers, including Theo Parrish, Ron Trent, Kenny Dope, and 4hero, in remixing and reimagining music from Far Out Recordings' extensive catalog.

In this project, Claussell has masterfully extended the tracks from Umoja into full-length, dance-floor-centric mixes. He has elevated the original music’s global, afro-futurist vision by executing comprehensive rearrangements. These new versions feature additional layers of percussion, guitars, keyboards, synthesizers, and drum programming. Claussell's approach involves meticulously excavating the source material and re-recording many of its components under the auspices of his Sacred Rhythm Music & Cosmic Arts banner.

By infusing his signature style, Claussell has accentuated the transcendent and rhythmic elements of Conte’s compositions, creating an immersive auditory experience that honors the spirit of the original works while pushing their boundaries into new, uncharted territories. His reinterpretations transform Conte's Umoja into a vibrant tapestry of sound that is both familiar and refreshingly novel, making it an essential listen for enthusiasts of both jazz and house music.

Listeners can now experience the electrifying Sacred Rhythm Dub of the title track "Umoja," which exemplifies Claussell's innovative approach to remixing. The reinterpretation promises to captivate audiences with its dynamic and layered soundscapes, designed to elevate dance floors worldwide.

Nicola Conte - Umoja (Joaquin Joe Claussell Sacred Rhythm Music & Cosmic Arts Remixes) is available for pre-order on double vinyl LP, CD, and digital formats ahead of its highly anticipated release on June 28th. This project not only celebrates Far Out Recordings' illustrious history but also highlights Claussell's unparalleled ability to bridge the gap between traditional jazz influences and modern house music sensibilities. Don't miss the chance to add this transformative musical journey to your collection.

Innervision Records releasing new music from Pat Petrillo, plus albums by Billboard chart-topper Blake Aaron and keyboardist Cal Harris Jr.

Springtime is about new growth, and this season finds Innervision Records in full bloom. Joining Billboard’s No. 3 Smooth Jazz Label of the Year for five consecutive years is drummer Pat Petrillo, who will make his label debut on June 7 with the single “Glide in My Stride.” The Southern California-based imprint also has a prolific release slate of blossoming spring albums and singles.

Petrillo joins Innervision Records on the heels of his critically acclaimed 2023 album, “The Power Station Sessions,” a set that landed him on the cover of Modern Drummer magazine and featured a collaboration with multi-time Grammy winner Nile Rodgers. The new single, “Glide in My Stride,” previews Petrillo’s next album, which will drop next year. 

Signing drummer Pat Petrillo is a welcome addition to the Innervision Records family. We are proud to be a part of the development and promotion of his upcoming first release on Innervision Records, ‘Glide in My Stride,’ and have already received glowing feedback from Pat's new music. We are expecting wonderful things from him,” said Innervision Records’ A&R and radio promotions executive Adam Leibovitz. 

"I'm really excited about signing with Innervision Records and joining their amazing roster of chart-topping artists. They've been leaders in the contemporary jazz genre for years, and the team that's in place is exceptional and experienced. I'm looking forward to releasing more radio singles as well as my new full-length album soon,” said the New York City-based Petrillo.

Innervision Records opened the year with guitarist Blake Aaron’s single, “She’s the One,” which romanced its way into the No. 1 spot on the Billboard chart last month. It’s the third Billboard No. 1 single from Aaron’s newly released “Love and Rhythm” album. 

The label also issued four new singles this spring, each of which is making its way up the national charts. Released in March, keyboardist Cal Harris Jr.’s new “Bridges” set spawned the single “Lemon Salt.” Hitmaking flutist Kim Scott is back with the sizzling single “Like Butter.” Guitarist JJ Sansaverino’s is having a spring fling with the single “Love Can’t Wait.” Smooth soul vocalist Erin Stevenson’s single “Almost” offers a glimpse into her forthcoming “Cover Girl Uncovered” album, which will be revealed on June 28.

Also expected to heat up the charts this spring are new singles from bassist Blair Bryant who will release the first cut, “Summit,” on Friday (May 17) from his forthcoming “Amethyst” album, which will arrive in 2025. On May 24, saxophonist Tom Braxton will release “Canyon Dreams,” the second single from his “Flashback” collection. Guitarist Keith Andrew will wrap the month with the release of his latest single, “Sapphire Cove,” on May 31. 

Twenty-six-year-old Innervision Records has curated a diverse family of recording artists who craft contemporary jazz, R&B and world music that consistently impacts the Billboard, Mediabase, Groove Jazz, Radiowave and multiple smooth jazz charts. The boutique label is energized about what’s to come from their roster this year. 

“We are thrilled as the year 2024 is shaping up to be one of exponential growth for Innervision Records through new and exciting chart-topping hits from many of our artists who are coming out with long awaited and highly anticipated new releases,” said Innervision Records’ general manager Steve Belkin.

 

John Klemmer | Chateau Love

It’s a big deal when an influential jazzman who launched his recording career in the 1960s records and releases a new record. The new album by contemporary jazz saxophone innovator John Klemmer, “Chateau Love,” was released by Touch Records USA/BFD/Orchard. Klemmer composed and produced a dozen new tracks for the intimate and soothing collection that generously clocks in at more than an hour of music.

“Chateau Love” marks a welcome return as it is Klemmer’s first new album since 1998’s “Making Love, Vol. 1.” Playing tenor and soprano saxophone along with synth, piano and vocal contributions, Klemmer’s sensual grooves, ambient jazz vibe and subtle melodies were crafted to create a feeling and an experience as well as to share his personal journey.

“‘Chateau Love’ is a place. It may be real, imagined or a concept that you can go to. It can be anywhere, or it can be your own invention. It’s your place for seclusion, intimacy, relaxation or romance. Each song/track is an expression and experience of my own personal yet universal journey to ‘Chateau Love,’” said Klemmer, who is known for pioneering the imaginative sonic effects he used on his saxophones.

Klemmer recorded “Chateau Love” live in the company of a legendary rhythm section comprised of bassist Abe Laboriel Sr., drummer Harvey Mason Sr. and percussionist Lenny Castro. Adding to the warm and enveloping harmonic backdrop are Ronnie Foster’s soulful keyboards and piano, and John Tropea’s chill electric and gentle acoustic guitars. However, it’s Klemmer’s horn play that stands stridently in the spotlight of each track - expressive and emotional without overplaying or being overwrought, connecting and communicative while maintaining a cool and collected demeanor, and intensely impassioned with a compassionate caress.

“Chateau Love” opens with an inviting rhythmic intro that sets the mood before melting into “Love Divine,” illumined by vocalist Katie Christopher’s enticing coos. Klemmer says the song is “the ultimate groove of celebration, of discovery, of mutual attraction.”

“Heartbeat” has a nocturnal feel, meditatively entrancing through Klemmer’s tenor and soprano saxes. He offers back-to-back expressions of gratitude on “Smile” and “Beautiful Words.”

Interestingly, Klemmer cites Bob Dylan’s “Gotta Serve Somebody” as inspiring “Something More Than You and I.” “Dreams” rushes over the spirit like a cascading wave bringing to life fantasies and desires.

“Islands in the Sun” shines through the grace of Darlene Koldenhoven’s reassuring vocal hook on the tune that Klemmer calls “the zenith journey of the ‘Chateau Love’ concept.” The cut will be serviced to radio next month in a shortened playlist-friendly version, edited down from the album’s ten-minute-plus excursion.

Romantic closeness swoons on “Bliss Kiss” and “The World is in My Angel’s Arms,” tantalizing, tranquil and trusting constructs of affection. Declaring his devotion outright, Klemmer sings and plays keyboards on “You are the One,” offering a spoken word pledge. The “Love Divine Outro” leaves us with a lasting embrace. 

Klemmer began his career in his hometown of Chicago, releasing the first of more than thirty albums, “Involvement,” in 1967. His “Touch” and “Barefoot Ballet” albums were crossover successes in the mid-seventies. Klemmer is currently assembling alternate takes and outtakes from both albums so that fans old and new have the opportunity to discover more hidden gems contained within. His recordings, including solo sax projects, have been called precursors to fusion, smooth jazz and new age music, with Klemmer considered as a pivotal figure in the advent of these music genres. DJs and rappers frequently sample his tracks, introducing new audiences to Klemmer’s sound and songs. He’s shared the stage with George Benson, Herbie Hancock, Miles Davis and Tracy Chapman, and he has been featured playing solos on records by Steely Dan, David Arkenstone, Nancy Wilson and John Lee Hooker, among others. In 1997, Klemmer teamed with bossa nova guitar great Oscar Castro-Neves for an album of duets titled “Simpatico.”

During the lengthy gap between his own album releases, Klemmer continued to record solo saxophone tracks for future projects. In 2018, he played a feature solo on contemporary jazz keyboardist David Garfield’s version of “Chasing Pavements.” Recording “Chateau Love” has reignited Klemmer’s artistic muse. He’s already at work on “Chateau Love Vol. 2,” which may contain more of his vocal performances.

The “Chateau Love” album contains the following songs:

• “Chateau Love Intro”
• “Love Divine”
• “Heartbeat”
• “Smile”
• “Beautiful Words”
• “Something More Than You and I”
• “Dreams”
• “Islands in the Sun”
• “Bliss Kiss”
• “The World is in My Angel’s Arms”
• “You are the One”
• “Love Divine Outro”

David Sanborn: 1945-2024

David Sanborn, a luminary in the world of jazz, left an indelible mark on the music industry with his unparalleled talent and soulful melodies. Born on July 30, 1945, in Tampa, Florida, David William Sanborn ventured into the realm of music at an early age, showcasing his extraordinary aptitude for the saxophone. His passion for jazz blossomed into a remarkable career that spanned over five decades, captivating audiences worldwide and earning him widespread acclaim.

David's journey in music began with his upbringing in St. Louis, Missouri, where he immersed himself in the rich cultural tapestry of the city's vibrant jazz scene. His innate talent and dedication led him to study at Northwestern University, where he honed his craft and laid the foundation for his future success.

Throughout his illustrious career, David Sanborn's distinctive sound and improvisational prowess redefined the boundaries of contemporary jazz. His smooth yet electrifying saxophone performances graced countless albums, collaborations, and live performances, earning him numerous accolades, including six Grammy Awards and an honorary doctorate from Northwestern University.

Sanborn's musical odyssey took flight during his tenure at Northwestern University, where he refined his skills and nurtured his passion for jazz. His ascent to prominence commenced with his debut album, "Taking Off," released in 1975, which showcased his dynamic saxophone stylings and innate improvisational flair. This marked the genesis of a prolific recording career that spanned over five decades.

Throughout his illustrious journey, Sanborn mesmerized audiences with his distinctive blend of smooth jazz, funk, and R&B influences. His discography boasts a plethora of acclaimed albums, including "Voyeur" (1981), "As We Speak" (1982), and "Straight to the Heart" (1984), each showcasing his virtuosity and versatility as a musician.

Among his most iconic compositions are timeless classics such as "The Dream" from the album "Voyeur," a soul-stirring ballad that epitomizes Sanborn's emotive saxophone melodies. "Maputo," a collaboration with South African jazz legend Jonathan Butler, captivated listeners with its infectious rhythms and evocative harmonies, earning Sanborn a Grammy Award for Best R&B Instrumental Performance in 1987.

Sanborn's collaborative spirit and boundless creativity led him to collaborate with an array of musical luminaries, including David Bowie, Stevie Wonder, and Eric Clapton, further cementing his status as a revered figure in the world of jazz and beyond.Beyond his musical achievements, David cherished his role as a devoted husband and father. He found unwavering support and inspiration in his loving family, who stood by him through every triumph and challenge. His legacy extends not only through his music but also through the love and joy he shared with his beloved wife, children, and grandchildren.

David Sanborn's influence transcends generations, leaving an indelible imprint on the hearts of music lovers worldwide. His soulful melodies and timeless contributions to jazz will continue to resonate for years to come, ensuring that his legacy remains alive in the hearts of those who were fortunate enough to experience his extraordinary talent.

As we bid farewell to a true icon of jazz, let us celebrate David Sanborn's life, music, and enduring legacy, knowing that his spirit will continue to inspire and uplift us for generations to come.

Samuel Torres | A Dance For Birds

With a New Jazz Works Grant from Chamber Music America in his pocket (Torres holding the distinction of being a three-time recipient of the award), Latin Grammy-Award winning percussionist and composer from Bogota, Colombia, Samuel Torres has brought a long-time musical vision to life with his latest tour-de-force, A Dance For Birds. 

A Dance for Birds, to be released on May 24, is a nine movement suite composed by Samuel Torres, and expertly interpreted by his Latin Chamber Ensemble, featuring the Bergamot String Quartet. The suite of music tells a story of migration with the congas (the bird) as the narrator. Torres brings Afro-Latin rhythms, jazz and classical music together into a new realm, defying musical stereotypes and expanding the horizons of what chamber/classical music can be, and what Latin and jazz can be. Apparently, the sky is the limit for birds, and for Samuel Torres. 

A Dance for Birds was commissioned by Chamber Music America through the New Jazz Works Grant and premiered at Lincoln Center in September of 2023. The recording pays homage to Cuban rumba, American Jazz, Colombia’s Currulao and Cumbia, and contemporary classical music. It fosters a dialogue between the congas and the chamber ensemble, representing the shared African heritage between the Americas while dancing with European traditions. The suite is a reflection on traditions and cultural celebrations, emphasizing the strength derived from unity and collaborative expression while expanding into new musical landscapes. 

This symphonic journey, encapsulated in A Dance for Birds, resonates as a reflection of the migrant's story, immigration, and the associated struggles. Yet, in its essence, the interpretation of this musical narrative remains subjective. As Torres stated, "I want listeners to feel the joy of unity amidst the complexities of migration. Let the music take you on a journey, and discover the message that resonates with your own soul."

More on the music on A Dance For Birds:

In the hands of Samuel Torres, a much-sought after collaborator who has worked with the likes of Yo Yo Ma, Paquito D’Rivera, Chick Corea, Tito Puente, Lila Downs, Angelique Kidjo, Marc Anthony, Rubén Blades, Cecile McLorin Salvant, Bridget Kibbey, and his country’s own international superstar, Shakira, the Congas are taken on profound journey in sound, encapsulated in the initial movement of A Dance For Birds, “From Stillness.” The subsequent movement, "Horizons Take Wings," (featuring Troy Roberts) pays homage to the Cuban Rumba, a heartfelt tribute resonating with the rhythmic vitality of Cuban heritage. "Conversations," (featuring Alex Norris), delves into struggles and disagreements, grounded in the Currulao Rhythm from the Pacific Coast of Colombia. This movement initiates a compelling dialogue between the congas and the drum set (featuring Jimmy Macbride), symbolically representing the African heritage bridging the two Americas. 

"Attraction" (featuring Ricky Rodriguez), is a harmonious tribute to the love songs of the Americas, intricately weaving European musical influences from the 19th century into a dreamscape of love beyond reality. "Expanding Spaces" (featuring Ahmed Alom) encapsulates the contemporary urban melting pot experience, as if György Ligeti met Tito Puente, evoking a rich interplay of tension and expectations. 

"The Song," inspired by Torres' exploration of the Caribbean coast and indigenous communities, mirrors the sounds of the natural surroundings through the Cumbia and Bullerengue tradition. The melody traces its origins to the bird sounds of the Tayrona (Colombia's National Park in Santa Marta), drawing parallels with Olivier Messiaen's early piano works that transcribed bird calls/songs. Here, Torres initiates a dialogue between the bird songs of Tayrona and Messiaen birds, symbolizing the migration of hand drums, particularly the congas, from Africa, across the Americas. 

"Shall We Fly," a tribute to personal family traditions, embracing influences from European traditions, incorporating the Andean Bambuco alongside the unmistakable sounds of Maracas Llaneras from the plains of Colombia and Venezuela. Melodic nods to family traditions and "classical" string quartets intertwine, creating a harmonious blend. 

"The Gathering," as its name says, is a call from the main bird, the congas, to the others to unite in a sound meditation, inspired by Pauline Oliveros' Deep Listening experience. 

The movement titled "Strength in Unison" emerges as a celebration and dance choreography, inspired by the music of the carnival of Barranquilla. This movement becomes a jubilant manifestation of unity across diverse cultures and traditions. Torres, through this composition, accentuates the strength found in collective collaboration.

Rose Brunello | Senseless Acts Of Love

Rosa Brunello's new album, ‘Senseless Acts Of Love’ on Domanda Music, is a beautiful testament to the power of music. The album brings together an incredible fusion of talent from jazz and experimental music; collaborating with brilliant artists such as Yazz Ahmed, Tamar Osborn, Maurice Louca, Marco Frattini, Enrico Terragnoli, and Luca Tapino, Brunello takes us on a journey through love and exploration.

‘Senseless Acts Of Love’ encourages listeners to embrace a more conscious and sustainable approach to exploration. It inspires us to connect deeply with the world we inhabit and appreciate the diverse cultures that coexist within it. This album captures the essence of unity, with collective improvisations and serendipitous moments of sonic synchronization.

The concepts of synchronicity and collectivity come together, promoting global connection, musical harmony, and simultaneously human harmony. The album highlights the importance of empathy, compassion, and shared experiences. The music aims to evoke a sense of unity, with collective improvisations and moments of both perfect and accidental simultaneity. Furthermore, the record incorporates the concept of slow travel, encouraging listeners to embrace a more mindful and sustainable approach to exploration. It seeks to inspire savoring the journey itself, appreciating the colors, shadows, and lights that accompany the path, painting a picture of train journeys, nocturnal dreams, and long sea voyages, emphasizing the beauty and meaning of contemplating intermediate moments and appreciating the connection between different places, cultures, and languages. Following the flow of things that resonate within us, doing what feels right, embracing one's own singularity while considering collectivity, lies at the heart of this album. Creating outside the box, composing twisted and oblique musical structures means thinking for oneself. But the ultimate goal is to celebrate our individuality using empathy. This is also the motto of Domanda Music. Empathy is the tool through which the individuality of musicians, and therefore of the world, is celebrated, because everyone is given a free voice.

Rosa recounts, "In recent years, I began to travel a lot for work, to places increasingly far from home, and having to fly frequently. I often wondered what I could do to be more sustainable. It’s a topic I find myself discussing with people who are particularly sensitive to climate change. What if I resumed another way of traveling, slowly savoring the journey in all its lights, shadows and colors? Maybe with a night train: falling asleep at night and waking up in the morning at destination, connecting two cities through a dreamlike experience. Or maybe by boat, on a journey that takes you to distant ports. This way you really have time to understand what you leave behind and what you are heading towards, enjoying the journey and what's in between.

In May 2022, I released my fifth album as a leader, "Sounds Like Freedom," with Los Angeles record label Domanda Music. It was recorded in September 2021 in Verona, Italy with Yazz Ahmed, Maurice Louca, and Marco Frattini, some of my favorite musicians with whom I have had the pleasure of working recently. From the studio session, we immediately felt a great connection musically and personally. Every concert after that was pure magic, co-creating different ideas each time, yet maintaining the structure of the album along with moments of improvisation. Since then, I felt the necessity of expanding the musical family by including in the group English composer and saxophonist Tamar Osborn and Italian guitarist Enrico Terragnoli. Tamar and Enrico entered the project as if they had always been part of it, interpreting the music with their unique and creative voices. The lineup for Sounds Like Freedom thus began to change shape, becoming an extended musical family. There was a natural desire to return to the studio to record a new musical chapter, by expanding the horn section to trumpet and flugelhorn, flute and baritone sax and trombone with the addition of trombonist and composer Luca Tapino, already a guest on the first album. We went into the recording studio in March 2023: two intense and wonderful days, full of beautiful music and joy. We wanted to maintain the idea that had accompanied us from the beginning, namely recording collective improvisations and some original compositions, with the direction of Tommaso Cappellato who joined us from Los Angeles for the artistic production."

Jane Scheckter | I'll Take Romance

JANE SCHECKTER is a mainstay on the New York City music scene. A Bistro Award winner and a five-time MAC award nominee, she has been wowing audiences with her velvet voice at major New York venues, including Birdland, Birdland Theater, the Metropolitan Room, the Iridium and Lincoln Center Jazz at Rose Hall. Stephen Holden of The New York Times wrote of her “bright, clear voice with a brassy edge and a luscious, rounded vibrato, meticulous phrasing, a sultry lower register...and she swings!” Scheckter is now releasing her fifth album, I’LL TAKE ROMANCE, a collection of 17 tunes from the Great American Songbook and beyond.

 Scheckter always attracts some of the top musicians from both coasts to join her on stage and on her recordings. On her previous album, Easy to Remember, she is accompanied by Tedd Firth, Jay Leonhart, Peter Grant, Bucky Pizzarelli, Warren Vaché, Harry Allen, Aaron Weinstein and guest artists Tony DeSare and Gil Chimes. For VI’LL TAKE ROMANCE, she once again brought on board her old friend, TEDD FIRTH, as the musical director, pianist and arranger, bass player JAY LEONHART, and drummer PETER GRANT, as well as renowned cornetist and flugelhorn player WARREN VACHÉ. She also sings a duet with the young vocalist and rising star, NICOLAS KING. 

A native of Springfield, MA, Scheckter showed her musical talent early in life, singing and playing the piano from age five, and adding the violin at nine. She began performing on stage at various venues in New England with her father, a harmonica player who headlined theaters across the country. She has been singing ever since. Her first two albums, featuring Mike Renzi, Jay Leonhart and Grady Tate, I've Got My Standards (DRG) and Double Standards (Doxie), elicited raves from the critics. Downbeat Magazine praised her "Ella-styled artistry," and the New York Daily News cheered "a brilliant star." Her third album, In Times Like These, drew praise from Rex Reed, who wrote, "Great CD, beautifully performed. Jane Scheckter has done a marvelous job of demonstrating, once again, that all is not lost if we can still find love and hope...in times like these." 

Scheckter is a multi-talented artist. She is not only a talented singer, but she is also an accomplished fashion designer and theater performer. Although her heart was in music, her parents persuaded her to have a career to fall back on, so she attended Pratt Institute, where she majored in design and starred in most of the campus’ theatrical show. 

After graduating, she immediately found work as a fashion designer on Seventh Avenue and in Milan, Hong Kong, and New Delhi. Her designs were featured in the leading fashion magazines and modeled by the likes of Lauren Hutton. She started singing in New York clubs at night while holding down her design job by day.   

She would take long lunch hours to rehearse with her accompanist, an up-and-coming pianist named Barry Manilow, who played and sang backup on her early demo records. Scheckter sang backup on Could It Be Magic, Manilow’s debut album. 

Scheckter also appeared in "Taking Off," Milos Forman’s first U.S. film, along with other unknowns, Carly Simon and Kathy Bates. But singing remained her first love, and despite her burgeoning career as a fashion designer, she said goodbye to the fashion world and concentrated solely on music. 

It did not take long for her to find her footing in the music world with appearances in New York and Los Angeles. She also toured the world as one-third of Tuxedo Junction, the vocal trio that had the number one disco album in 1978. She made guest appearances on American Bandstand, Dinah Shore, Midnight Special, Disco Fever, and the Jerry Lewis telethon from Las Vegas. 

These days, Scheckter sings regularly in New England, Paris (Le Bilboquet, La Villa, Café Laurent) and on the Cote d’Azur, where she launched and performed for two years at the Majestic Hotel’s Cannes Jazz in July series, is a frequent performer at the Royal Jazz Lounge in Antibes, and Vegaluna, Cannes, and was featured for two years at the National Fête de la Musique celebrations in Valbonne and Biot. 

I’LL TAKE ROMANCE comprises smart, cosmopolitan love songs that have been covered by many artists over the years. But Scheckter breathes new life into these chestnuts with her warm voice and conversational style, creating the perfect confluence of sophistication and emotional depth. 

Scheckter infuses every song with swing, whether it is a ballad like “Isn’t It a Pity” or the lovely vocal/piano duets “If Love Were All” and “What Are You Doing the Rest of Your Life,” or gentle mid-tempo swingers like “A Beautiful Friendship,” featuring Vache’s distinctive cornet, or “Love I Hear,” from Stephen Sondheim’s score from A Funny Thing Happened on the Way to the Forum, featuring a scat solo by bassist Leonhart. She also includes one song with all original lyrics. Her old friend, Mickey Leonard, who passed away in 2015, wrote an instrumental tune called “A Song for Bill Evans.” During the pandemic, Scheckter asked Roger Shore, a New York-based lyricist, to write words to the song about people who pass through our life and change it forever. Scheckter also contributed lyrics to the song, which she renamed “Looking Back.” 

Rather than choose songs that are world-weary or filled with unrealized longing, Scheckter, who has been married for over 40 years, chose songs that reflect the maturity and insight garnered from a long, happy marriage. With Scheckter’s subtly sultry voice backed by superb musicians, I’LL TAKE ROMANCE shows that some love songs, like love itself, have a timeless quality. 

Sonny Rollins | Freedom Weaver: The 1959 European Tour Recording

Resonance Records, the award-winning home of archival jazz treasures, will proudly present a new, fully authorized live collection by tenor master Sonny Rollins, Freedom Weaver: The 1959 European Tour Recordings, as a limited edition four-LP set released for on Record Store Day, April 20. 

Never before issued as a legitimate release, these much-bootlegged sides—which feature Rollins, at the height of his early powers, with bassist Henry Grimes and drummers Pete La Roca, Kenny Clarke, and Joe Harris—will subsequently reach stores as a three-CD set and digital download edition on April 26. 

This stunning package captured at Rollins’s concerts and radio and TV appearances in Sweden, Switzerland, Holland, Germany, and France in March 1959 succeeds Resonance’s first fully authorized music drawn from the Dutch Jazz Archive (NJA), 2020’s Rollins in Holland, a widely praised collection of 1967 live dates.

The LP edition of Freedom Weaver was mastered for 180-gram vinyl by Bernie Grundman. The deluxe booklet for both configurations will include detailed notes by the Grammy-winning writer Bob Blumenthal; a new interview with Rollins; thoughtful tributes from fellow tenorists Branford Marsalis, Joe Lovano, James Carter, James Brandon Lewis, and the late Peter Brötzmann; and rare photographs by Ed van der Elsken, Jean Pierre Leloir, Bob Parent, and others.

Resonance co-president and producer Zev Feldman says of the forthcoming set, “In the spring of 2022, I spoke to Sonny about the possibility of releasing what I regard as very important recordings which have only been available until now as unauthorized releases: these masterpieces recorded during Sonny’s European tour in 1959. It’s a crime that Mr. Rollins has never been paid for bootleggers’ exploitations of his work. With this release, we at Resonance are taking another step to ameliorate the wrongs committed by those who would misappropriate the creative output of this magnificent artist.”

The famously exacting Rollins told Feldman, “Listening to older recordings of myself years after they were made, I tend to be self-critical. I’m always trying to get better. But on these recordings, I was in a good mood, and some of the places we played I hadn’t been to before. I was uplifted because I was appreciated there. Everything seemed to be happy within the groups and in the performances. It was all very positive and I’m actually very happy that Resonance has gotten together with me to put them out. I think they add to who I am and what I’ve done.” 

In a 1961 letter quoted in Aidan Levy’s monumental 2022 biography Saxophone Colossus, Rollins said of his European experience, “This tour proved to be most educational in several ways. For not only did I realize for the first time (and firsthand) the genuine respect and admiration with which jazz is received, but I also learned an important biological lesson: That…there is a true brotherhood of all people!” 

In his notes, jazz scholar Blumenthal views the ’59 shows as a culminating event for the artist: “It was not until the spring of 1957…that he attempted an entire session with just bass and drums in support. The resulting Contemporary Records album Way Out West, promoted as an all-star conclave of Rollins and perennial poll winners Ray Brown and Shelly Manne, became an instant classic, but it was no fluke. Rollins reveled in the harmonic freedom afforded by the absence of a comping piano or guitar, and in the months that followed produced two additional trio masterpieces, A Night at the Village Vanguard on Blue Note (primarily with Wilbur Ware and Elvin Jones) and Freedom Suite on Riverside (with Oscar Pettiford and Max Roach). This unintended triptych…defined what came to be Rollins’s preferred working format, the one he chose to employ when he made his first European tour in February and March of 1959.”

Rollins’s deep impact on succeeding generations of saxophonists is delineated in the interviews conducted by Feldman expressly for Freedom Weaver.

Marsalis says, “I was about 24 the first time I actually HEARD Sonny; HEARD what he was playing. At that time, I was figuring out who I wanted to model my playing after, and Sonny led me to thinking more in sonic terms, rather than harmonic terms. I tried to sound like Sonny, as much as I could. I listened to Sonny religiously for eight or nine months.”

“For me, Sonny was his own style,” says Lovano. “It was like the Sonny Rollins School of playing. And he played with so much love of the music that he was exploring and, in a way, channeling. He was channeling ideas that were fueled by the music that he loved and that he listened to. And also, by players he absorbed in his young life coming up—Coleman Hawkins and Charlie Parker and singers and the blues. He developed a way of playing that combined of a lot of elements.

Carter says of the master’s all-encompassing style, “I could hear Trane. I could hear Hawkins and Bird in his playing simultaneously. It was like an apparition that would just shift around and morph at certain times. There were rapid passages. You could hear Bird and Hawk, and then sometimes when he’s getting jagged or whatever, you could hear an exaggerated version of Hawk and Bird. It would just come out and then all of a sudden go back, then come back out as a Bird apparition and then a Hawk apparition, and they would come together. It was just continuous. Just listening to him head-on was a revelation in and of itself: here’s somebody who really coalesces, has all the tradition together and was still building upon it and had inexhaustible ideas.” 

The new millennium star Lewis notes, “Sonny Rollins is a motivic genius. He’s a jazz equivalent of Bach, really. He can develop anything. For me, you could take any little fragment of Sonny’s and turn it into your own composition.” 

In an interview held just eight months before his death, the German free jazz giant Brötzmann offered deep gratitude to his masterful forebear: “I always said to my colleagues here, ‘Man, Rollins is my man.’As an artist, you have to find your own way, your own language, your own way of moving through the world. Sonny Rollins’s example served as a great inspiration, a teacher for me to propel me to develop my own stuff, my own language. I looked to Sonny for that inspiration.”