EUGE GROOVE - HOUSE OF GROOVE

For centuries music has been utilized throughout the globe for its therapeutic and cathartic properties. Chart-topping multi-instrumentalist, Euge Groove, one of the most sought after instrumentalists on the scene, taps into the power of music’s innate abilities on his third Shanachie Entertainment recording, House Of Groove. Euge Groove shares, “In all that is going on in everyone's lives, my own included, I hope people can remove themselves and connect with the emotions of where I was coming from when writing this album. It's far too easy to get caught up on the dark side of things going on all around us. I hope that the music’s positive vibe reaches people.” A quadruple threat, the saxophonist, composer, producer and DJ, Euge Groove, has built an impressive career as a free spirit who remains true to his own artistic vision. It is no wonder the charismatic saxophonist has been able to record a string of #1 hits and garner a devoted following. His wide ranging musical tastes, impeccable musicianship and keen showmanship have planted him on world tours with such icons as Rock `N' Roll Hall of Famer Tina Turner, Joe Cocker. Eros Ramazotti, Richard Marx, Tower of Power, and Huey Lewis and the News

House Of Groove, Euge Groove’s eighth recording as a leader, is a revealing glimpse into the creative forces that influence the dynamic musician and the physical space where his creative ideas flourish - The Groove House, where he lives and records in Southern California. “It was a friend that pointed out that he thought the album was written in my happy place,” shares Euge. “I am very happy right now. That's not to say I don't have stress and anxiety. But at almost 50 years young, I think I've better learned how to separate worrying about things I can change and not worrying about those I can't. I'm not apathetic but I just try to keep it in perspective.” The down to earth musician’s Zen perspective is humorously reflected in his email signature that reads, “I will no longer be accepting bad news on Fridays. If you must deliver bad news, please do so on the following Monday. Your attention to this matter is greatly appreciated.”

House Of Groove showcases ten sublime originals that underscore why Euge Groove is a master of conjuring rich emotion and melody. The self-professed techie loves to stay abreast of the emerging studio gear and believes that you have to wholly commit yourself to the recording process to allow its musical direction to evolve organically. “With each album I can more comfortably lock myself in my studio and put everything I have into the process,” confides Euge. “I love getting new recording tools as they come out. I think being one with the DAW (Digital Audio Workstation) is essential these days. The creativity is instant. It's not filtered through someone else. You don't have to compromise anything. It's liberating.” Euge Groove’s approach to the recording process is one of patience and intuition. “I’ve learned over the years you can't force anything. When the music starts to take on its own direction, you have to be willing to just ride with,” shares the consummate artist who moonlights as a DJ on www.smoothjazz247.com He can be heard weekly on Thursdays from 4PM to 6PM PST online and on the Iphone app sky.fm.

Euge Groove programs all the tracks on House Of Groove and is featured on the tenor and soprano saxophones, flute and Hammond B3. He is united by a solid cast of musicians including pianist and keyboardist Tracy Carter, bassist Cornelius Mims, guitarists Paul Brown and John “Jubu” Smith, drummers Trevor Lawrence and Dan Needham, percussionist Lenny Castro and trumpeter Lee Thornberg.

House Of Groove was recorded over an eighth month period. “While I was making this recording, I spent most of the time by myself immersed in the music. This album will be a success to me if the intimacy I felt making this album translates to my fans who listen to and experience this music.” shares Euge.

The saxophonist’s new album opens with the jubilant and lyrical “Knock! Knock! Who’s There?,” which sets the tone for a thrilling musical foray. The inspiration for the opener might not be so obvious as it draws upon the influence of a famous English poet and playwright. “I have a habit of naming my opening songs after something from Shakespeare. It goes back to my very first album in Y2K. I had written the first track on that album a few years earlier while I was on tour in Italy,” explains Euge Groove. “I had a few days off in Verona, which was the home of Romeo and Juliet. I visited the balcony and rubbed the bronze breast of Juliet for good luck. The whole experience left an impression on me. So when I got back to my hotel room, I wrote the song Romeo and Juliet. This latest one is ‘Knock Knock who's there?’ Which is from ‘Macbeth.’ Which is what started all the knock knock jokes oddly enough!” The album’s title track and new single is a soulful number highlighting Euge’s big burly tenor caressing a funky swing groove. The song pays homage to Euge’s home base and recording studio that fuels his creative energy. “I really feel the songs on this album capture the spirit and energy that friends and family bring to the Groove House.” The feel good vibe permeates House Of Groove with songs like “Fellowship Hall” featuring Euge’s ethereal soprano and “Lampin’ It,” which opens with the buttery Fender Rhodes of Tracy Carter and then unfolds into Euge’s sensuous serenading tenor. Also included is “old.edu (Old School)” which beautifully summons an old school 70s ‘get on the dance floor’ kind of feel. “I've never done a song with that old school four on the floor beat, so that's what I went for on this. I slapped a huge Euge layered sax section on it and it just felt great!” exclaims the reedman.

A special highlight on House Of Groove is an unforgettable duet with celebrated R&B crooner Jeffrey Osborne called “Never Met a Woman Like You,” which Osborne co-wrote. The dynamic duo delivers a riveting performance. Euge shares, “I wanted to give Jeffrey a track reminiscent of his LTD days. He just nails the vibe on this one. It's a fun song. It's always important for me that when there is a vocal song on an instrumental album, that the sax isn't an afterthought. I think writing it from the ground up with that in mind makes for a better collaboration.” Euge invites two additional singers to collaborate on House Of Groove, young New York based singer/songwriter Chioma who co-wrote the ballad “It’s Only Rain” and Kate Miner Moebel, who is featured on the moving gospel tinged and country inflected ballad “God Bless You.” When Euge wrote the lyrics to “God Bless You,” Kate’s voice immediately came to mind. “I got in touch with Kate who used to lead the worship music at a church I went to years ago. I always remembered her voice. She sounds like an angel on it.” A master at creating timeless ballads, Euge’s dreamy “Indian Summer” is another standout. House Of Groove also features the heart-warming and tender gospel number “Faithful Central.” “After I finished cutting this song, the guys were doing this dance and I asked them what they were doing, and they said they were doing the choir dance from Faithful Central,” recalls Euge. “Faithful is a big church out here where pianist Tracy Carter is one of the music directors. He just put his church vibe into the song, and I had to honor where it came from. It just feels very honest.”

Born Steven Eugene Grove in Hagerstown, Maryland, Euge Groove grew up in a musical home. His mother played piano and taught the Cherub choir at Christ Lutheran Church and he began his own musical pursuits at the age of seven, piano and adding the saxophone at nine. But for Euge it was in elementary school where he discovered that music was his calling. “In fifth grade I thought I'd be in school band the rest of my life.” He later discovered two saxophonists who had a profound affect on his approach to playing.

“One was French classical player Marcel Mule, who really defined what the sax was supposed to sound like for me and the the other was David Sanborn. He took that sound and brought it into the mainstream world,” reminisces the worldly saxophonist. Through the years, Euge’s love of jazz, R&B, gospel and blues have all come together to inform his personalized sound.

He explains “I've listened to everyone from Grover (Washington Jr.) and (David) Sanborn to (Charlie) Parker and (John) Coltrane as well as (Michael) Brecker, (Stan) Getz, King Curtis, Junior Walker, Richard Elliott and Kirk Whalum. The thing is, the more mature we become the more those influences fuse into something new. I always listened to a lot of R&B growing up, fused that with pop music, then with the gospel music. Hopefully all of these influences come through in my music and I am able to create my own unique expression.”

A graduate of the University of Miami's School of Music, Euge launched his professional career in Miami in the mid 80s, playing in salsa bands, top 40 club bands and doing the occasional high profile session date like Expose's “Seasons Change,” a #1 Billboard AC hit. Not long after he moved to L.A. in 1987, he wrote a track for Richard Elliot's The Power Of Suggestion album, and Elliot recommended Euge to take over his spot in Tower of Power. Euge toured with TOP for four years, including a year backing Huey Lewis & The News. His resume grew from there to include recording, touring or performing stints with Joe Cocker, The Eurythmics, The Gap Band, Elton John, Bonnie Raitt, Aaron Neville and Richard Marx. Marx included Euge's horn on “Keep Coming Back,” a #1 AC hit duet he recorded with Luther Vandross.

In 1999, coming off the road after two years of touring with popular Italian singer Eros Ramazotti and Joe Cocker, the saxophonist paved the way for his eventual solo stardom by recording some tracks of his own. Without a record label to distribute the music, Euge put his songs on the now-defunct MP3.com website, dubbing himself “Euge Groove” and downloading started almost immediately, and Euge was soon topping theMP3.com jazz chart. He signed soon thereafter with Warner Bros. “Vinyl,” his first single from his self-titled Warner Bros. debut, set a record by spending 27 weeks on the R&R charts, eventually ranking at #24 for the year. Play Date kept the trend going with two more #1 radio hits, “Slam Dunk” and “Rewind.” In 2004, Euge Groove's Narada debut, Livin' Large, spent 68 weeks on the Billboard charts, debuted at #4 and came in at #25 overall for 2004. "Livin' Large," the single, was the #5 most played song for 2004 on the R&R singles chart. "XXL" spent 36 weeks on the radio chart. Just Feels Right followed in 2005 and it's first single "Get Em Goin'," was #1 for two months. Born To Groove followed in 2007 and featured several chart-topping singles. Euge Groove's Shanachie debut was in 2009 and included the #1 smash hit title track and the top five single “All For You.” 2011 saw the release of S7ven Large whose title track scored yet a #1 hit.

Euge Groove concludes, “I've had a crazy blessed life and career. In a way, I feel like the hardest thing is just trying to keep it all going. There is a lot of intensity in this business with things coming at you from all directions. I just like to take it all one step at a time and enjoy the moment. To paraphrase Bill Withers, while your on your way to greatness, tale a minute to look around and enjoy where you are. Because that spot might be pretty OK.”

:::: SOURCE: eugegroove.com ::::

NEW RELEASES - STANLEY COWELL, CHARLES CHA CHA SHAW, MULLGREW MILLER & KLUVER'S BIG BAND

STANLEY COWELL - IT'S TIME

Sublime trio work from pianist Stanley Cowell – a player who's held us rapt with attention for decades – and continues to earn our faith with great records like this! The album features Cowell on piano, and a bit of kalimba – which is mighty nice – working with bassist Tom DiCarlo and drummer Chris Brown – both younger players who really seem to get Cowell's groove, especially in the more complicated moments – of which there are a few. The set begins with two great originals by Stanley – "Cosmology" and "El Space O" – then moves into the great "Asian Art Suite", which is really one of the most unusual, exotic things we've heard from Cowell in years! That music is then offset by the long "Civil Rights Suite" – which has bolder overtones to match its social message – and the set then concludes with two more standalone compositions by Cowell – "Long Vamp" and the classic "Abstrutions". ~ Dusty Groove

CHARLES CHA CHA SHAW - INTO MORNING

A rough-edged batch of spiritual jazz tracks from trumpeter Charles "Cha Cha" Shaw (not to be confused with Charles "Bo Bo" Shaw) – recorded in an open-ended loft jazz mode with a really open, echoey feel! The album's a rare 70s jazz date on the Folkways label, and it's almost got the freer, open sound of an ESP session from a decade before – experimental jazz that's very much at the fringes, but also played with some of the spirituality of the post-Coltrane generation. Shaw's trumpet has a really earthy sort of feel – blown with a great sense of personality, and a sound that's almost heart-wrenching at times – especially on some of the more modal numbers. Other players include Brian Ross on tenor, Billy Lyes on piano and guitar, and Ronnie Boykins on bass. Boykins is really the only player we know here from other records – and titles include the nicely grooving "KZ", plus "Juggety", "Super Slik", and "Eternal". (Super-heavy vinyl and cover – feels like a vintage record on Folkways! Includes download card.) ~ Dusty Groove

MULLGREW MILLER & KLUVER'S BIG BAND - GREW'S TUNE

Mulgrew Miller in a really fresh setting – working here as a key soloist in a European big band – one that seems especially tuned to the lyrical beauty of Miller's music! All tunes are originals by Mulgrew, re-arranged by various group members – turned into these full-on flights that really take off from the start – giving us an even broader imagining of the soulful visions that Miller's always had in his work. Mulgrew gets to solo plenty – and other key players include Michael Bladt and Claus Waitlow on tenor, Soren Bo Addemos on guitar, Rasmus Bogelund on trumpet, and Niels Lyhne Lokkegaard on alto – all of whom solo in the set. Titles include "Thinking Out Loud", "Return Trip", "Samba D'Blue", "Hand In Hand", "Grew's Tune", and "When You Get There". ~ Dusty Groove

MASSIMO DE MATTIA - BLACK NOVEL

There is something unique about Massimo De Mattia in the world of Italian jazz and improvisational music. After spending the 1980s learning and playing with talented peers and the saxophonist Tom Kirk, his hard bop language turned down the path of free improvisation, a predominant but not exclusive characteristic of his music.

All of his recordings, beginning with his first, Poesie Pour Pasolini (1993) reflect this journey. With absolute relentless determination, he experimented with different scenarios: the solo, small groups, orchestras and multidisciplinary performance (theater, figurative arts, and cinema). What makes De Mattia stand out is the thoroughness and consistency with which he explored these different contexts.

For the past decade, De Mattia has focused on working continuously with one small band. The idea was to try to find musicians and a way of working together that was not like the dictates of mainstream jazz. What he sought was something organic or even a living “organism” where the musicians’ roles were not fixed. As the band’s members and instruments changed, the only constant was the piano that was there from the start.

Each change added resonance and personality to the “organism”, taking it towards a powerful, flexible and tight kind of music, which we see stronger than ever in this album. In these snapshot compositions, the lyrical aspect prevails, Full Blue dedicated to a friend’s passing, or tension taken to breaking point in Tortured Flowers. The rhythmic layering constantly changes with urgent pulsing and cyclical repetitions. Passages are deconstructed and reconstructed with all musicians playing continuously.

We see this in Black Novel, where the double bass is the axis on which the entire piece spins and which all other instruments follow, while at the same time the bass emerges as a true story-telling soloist.

This is a work which casts musical improvisation toward uncharted territories, but has its roots in history. It has an air of late 1970s free jazz about it, Loft Jazz, as well as contemporary overtones, but there’s no repetition of the past here. This is a breath of fresh air heralding the rediscovery of freedom.

:::: SOURCE: Rudi Records ::::

PONCHO SANCHEZ AND HIS LATIN JAZZ BAND LIVE IN HOLLYWOOD

Given all the ups and downs the music industry has experienced in the past three decades, it’s remarkable to find anyone who still retains a sense of allegiance or loyalty. Master Conguero, Band Leader and Latin Jazz Legend Poncho Sanchez is the exception. Thirty years ago, his close friend, multi-instrumentalist jazz icon Cal Tjader recommended he sign with Carl Jefferson’s Concord Records. Tjader told him that Jefferson was looking for new talent and he highly recommended Sanchez. Jefferson gave Poncho a one record deal with his Concord Picante imprint, and the rest is Latin Jazz history. Thirty years and 26 albums later, Sanchez, whose Live in Hollywood recording is set for digital release September 25, 2012 on Concord Picante, is still with the label; even though he had plenty of opportunity to leave in the late ’90s. (There will be a physical release October 30, 2012, international release dates may vary.)

“When Carl died, Concord was in a big mess,” says Sanchez. “They were going to lose the whole thing. People in the office were calling me and telling me they were trying to raise money. I knew they were in big trouble. I started getting phone calls from other labels interested in signing me. I was strong enough to say, ‘I’m going to hang on and see what happens.’ Concord hung on, and they have always let me do what I want to do. C’mon, man. Where do you get that privilege? They don’t do that with everybody. It’s like a family to me. I love them and here we are 30 years later.”

Recorded over the summer at the Hollywood & Highland KKJZ Summer Concert Series, Live in Hollywood features Sanchez and his Latin Jazz Band at their best. The album opens as the live show did – with the swinging tune “Promenade.” Sanchez follows the tune up with the first-ever “Poncho Sanchez Medley.” He says it’s a concept that he and his music director Francisco Torres have discussed for years.

“Francisco told me ten years ago that I should do a medley of my tunes,” says Sanchez. “I said, ‘Ah, my songs aren’t that great; they’re just alright.’ I wanted to move on to new stuff and I didn’t pay too much attention. Then he told me again that we should do a medley for the live album and I agreed. I thought it would be cool to start with ‘Mi Negra’ and ‘Baila Baila’ and with the last one we step it up a notch and go a little faster.”

Now, Sanchez says he’s working on another medley he’ll include on his next album. “I say, ‘What the hell. You ain’t gonna stop me now!’”

In addition, Sanchez pays tribute to two of his biggest influences – keyboardist, composer and arranger Clare Fischer and Latin Jazz percussionist Mongo Santamaria. Fischer helped Sanchez get his first record deal with Discovery, the label for which he recorded before joining Concord in 1982.

“Clare was a harmonic genius,” says Sanchez. “He wrote beautiful tunes and I knew these tunes when I was in junior high school. When I met him, I told him how much I loved ‘Morning’ and ‘Pensativa’ and ‘I Remember Spring.’ Then when we did our first record, at the last minute, we recorded ‘Baile Mi Gente,’ the first song I ever wrote, with Clare Fischer. We needed one more seven-minute song. I was done. I didn’t have any more songs. Then, Clare said, ‘Why don’t we do “Morning?”’ [Saxophonist/Flutist] Gary Foster said, ‘Let’s do “Morning” as a cha-cha.’ He got the Flute out and I told him to try it on the Alto. That was the hit on the album and that’s why I did it on Live in Hollywood. That’s how that all came together.”

Sanchez also delivers a high-energy rendition of “Afro Blue” that serves as a tribute to the late Santamaria, whom he considers a good friend and important influence. When Sanchez performed at the Hollywood & Highland concert, he introduced the song by talking about what an inspiration Santamaria was to him. While Sanchez’s brief commentary didn’t make it onto the album, the song still stands a worthy tribute.

“He was my hero in life,” Sanchez says of Santamaria. “I opened that song up with a little thing by myself, which is a Rhumba I sing. It’s an old Cuban street song. I did that off the top of my head. And then, boom, I set the time into ‘Afro Blue.’ He is my all time favorite Conga drummer. I even named my son Mambo.”

The album closes with the vigorous “Son Son Charari,” which Sanchez introduces by exclaiming, “Alright, it’s time for a little salsa!”

“I wanted to end the night with a hot salsa number and there are a few more I could have done,” says Sanchez. “I always liked ‘Son Son Charari’ and that song did very, very well in Puerto Rico. They used to play it on the radio all the time.”

For Sanchez, who turned 60 this year and will receive A Lifetime Achievement Award from the Latin Recording Academy at a November 14, 2012 ceremony in Las Vegas. Being able to make a living playing music is a dream come true. As a teen, Sanchez first learned to play guitar from “the guy across the street” because he couldn’t afford to buy an instrument and his friend would let him borrow his guitar. He then gravitated to percussion after his siblings introduced him to the music that was then called cha-cha music.

I’ve been involved with this from the beginning but just as a listener when I was a young boy,” he says. “I never dreamed it would happen that I would become a professional musician. You go with the flow and you go with your heart and what feels right, and now I know it feels right because this is how I made living for my whole life. I’m not braggin’ but I did pretty well for a guy from the neighborhood.”

:::: SOURCE: Concord Music Group ::::

JAMES BROWN REISSUES - IT'S A MAN'S MAN'S MAN'S WORLD, I GOT YOU (I FEEL GOOD), PAPA'S GOT A BRAND NEW BAG

JAMES BROWN - IT'S A MAN'S MAN'S MAN'S WORLD

James Brown, proud and loud – a smoking 60s album that provides a great link between his earlier styles and his freer roots – with a brilliant blend of funk, soul, and a touch of raw R&B! Given the power of The Godfather at this point, there's no denying that even the older cuts have a punch that few others could match – making for a record that feels mighty darn unified, despite the stretch of time between a few of the recordings. Titles include the funky gems "Ain't That a Groove (pts 1 & 2)", "The Scratch", "Is It Yes or Is It No", and James' great version of "The Bells" that's always been one of our favorites – plus Just You & Me", "I Love You Yes I Do", "Come Over Here", and "I Don't Mind". The cover also comes with an "autographed" photo of James on the back with the text "James Brown Fans – Frame This 8 x 10 Picture" – and an image that says "Soul Brother #1 Is Peeking At You Thru The Key Hole"! (SHMCD pressing.)

JAMES BROWN - I GOT YOU (I FEEL GOOD)

Quite possibly THE James Brown album of the mid 60s – a solid set of hard-grooving tracks, based around the monster title hit "I Got You (I Feel Good)"! The tune's one of those numbers that has been used a gajillion times over the years in commercials and promos – but which never sounds better than here, on James' original version – one of those cuts that never gets old! The hit's also nicely offset by a number of other more obscure numbers that make the album really worth tracking down – titles that include "I Can't Help It (I Just Do Do Do)", "Good Good Lovin", "I've Got Money", "Three Hearts In A Tangle", "You've Got The Power", and "Love Don't Love Nobody" – all on the rougher side of the JB spectrum. (SHMCD pressing.)

JAMES BROWN - PAPA'S GOT A BRAND NEW BAG

Here's where things really started getting interesting for James Brown! The album was issued right around the same time as James' single "Out Of Sight" on Smash – and like that track, "Papa's Got A Brand New Bag" was one of the first to use that "instruments on the beat" style of funk that would dominate all of James' work in years to come – that amazing groove that completely turned soul music on its ear – and paved the way for generations to come! The result is a startling sound that forever changed the face of groove – and you'll hear it nicely placed on this album, along with great cuts like "Cross Firing", "Mashed Potatoes USA", "Doin The Limbo", and "Love Don't Love Nobody". (SHMCD pressing.)

:::: SOURCE: Dusty Groove ::::

NEW RELEASES - DR. LONNIE SMITH, WADADA LEO SMITH / LOUIS MOHOLO, ELLIOT SHARP'S TERRAPLANE

DR. LONNIE SMITH - THE HEALER

Lonnie Smith's a musician who's really taken off in recent years – hardly content to rest on his well-earned laurels in jazz, and definitely not a player who's willing to reduce himself to familiar cliches designed to please a crowd looking for an old school sound! Instead, he's continued to grow strongly – reaching for new sounds, new modes of expression, and new ways of opening up on the Hammond – light years from his early work of the 60s and 70s! A record like this is a great document of that growth – amazing trio tracks that have some of the most righteous sounds that Smith's ever recorded – really far-reaching and free, yet still plenty soulful too – a balance we never would have expected from Lonnie back in the day. Each tune is a treasure – and the energy in the group is great, thanks to work on guitar from Jonathan Kreisberg and drums by Jamire Williams. All tracks are nice and long – and titles include "Beehive", "Dapper Dan", "Pilgrimage", "Backtrack", and "Mellow Mood".

WADADA LEO SMITH / LOUIS MOHOLO - ANCESTORS

Tremendous duets between these two seasoned players – a set that really lives up to the best energy of both musicians! Smith's trumpet is especially nice – stretched-out, soulful, and flowing – with a quality that really takes us back to his more dynamic recordings of the 70s – and Moholo, as always, is a monster on the drum kit – working the whole thing with effortless ease, and shifting his strength and timing to meet the musical modes from Leo. The set features the extended "Ancestors" suite – plus "Jackson Pollock Action", "Siholaro", "Moholo Moholo/Golden Spirit", and "No Name In The Street James Baldwin".
Sky Road Songs

ELLIOT SHARP'S TERRAPLANE - SKY ROAD SONGS

An interesting project from Elliott Sharp – a set that mixes his older downtown sounds with some surprising rootsy elements – all in a blend that really helps his music stretch out strongly! Sharp's guitar work is still incredible – whether arch and arty, or acoustic and bluesy – and the album features a mix of instrumental workouts and vocal numbers – with lyrics sung by Tracie Morris, Eric Mingus, and Joe Mardin. Hubert Sumlin plays some guest guitar, and Curtis Fowlkes adds a bit of trombone – and titles include "Fade To Noir", "This House Is For Sale", "Endless Path", "Banking Blues", "I Blame You", and "Off The Hook".

:::: SOURCE: Dusty Groove ::::

VINCE GUARALDI TRIO - A CHARLIE BROWN CHRISTMAS [2012 REMASTERED & EXPANDED EDITION]

The new deluxe CD reissue features 24-bit remastering from original stereo masters and three holiday bonus tracks. A green vinyl LP edition will also be issued.

Vince Guaraldi Trio’s A Charlie Brown Christmas [2012 Remastered & Expanded Edition] will be released by the Fantasy label in time for the holidays. One of the most popular and beloved holiday albums of all time, the multi-platinum-selling original soundtrack recording was a Library of Congress National Recording Registry inductee on May 23, 2012 and a Grammy Hall of Fame inductee in 2007.

The 2012 Remastered & Expanded Edition CD will feature the original 1965 recording newly remastered with 24-bit technology from the original analog stereo master tapes. It also contains three holiday bonus tracks that did not appear on the original LP: “Greensleeves,” “Thanksgiving Theme,” and “Great Pumpkin Waltz.” The digi package includes a 20-page booklet featuring memorable Peanuts character images from the beloved A Charlie Brown Christmas television special and engaging new liner notes by Peanuts and Vince Guaraldi historian Derrick Bang, author of Vince Guaraldi at the Piano (McFarland Press). Concurrently, Fantasy will issue a 2012 LP pressing of the classic album on green vinyl.

When Guaraldi’s Charlie Brown Christmas album was inducted into the Library of Congress, the Library’s media release noted, “A Charlie Brown Christmas introduced jazz to millions of listeners.” According to annotator and Guaraldi biographer Bang, “The importance of [that] sentence can not be overstated.” Children all over the world who had resisted jazz as the music of their parents were given an introduction. Berkeley-based Fantasy Records wisely released a soundtrack LP of the San Franciscan pianist’s work on the show. (Completing the Northern California scenario, Peanuts creator Charles M. Schulz built his final studio in Santa Rosa, and it’s there where the Charles M. Schulz Museum was established as a permanent home to Snoopy and the gang. So too the sweet voices heard on “Hark the Herald Angels Sing” are from San Rafael’s St. Paul’s Church Children’s Choir.)

Just as Frank Capra’s It’s a Wonderful Life became part of the American Christmas experience, CBS Television achieved the same result with A Charlie Brown Christmas. At the same time, any jazz-resisting viewers found themselves thoroughly absorbed.

For this new edition of the soundtrack for A Charlie Brown Christmas, reissue producer Nick Phillips and remastering impresario Joe Tarantino resurrected the original stereo analog master tapes along with the original stereo mixes. Longtime fans may have purchased the album before, but the sonic differences between the new edition and the album’s debut CD released in 1988 are vastly different, since analog-to-digital conversion has improved over the past quarter century as a side-by-side listening comparison will reveal.

The album’s centerpiece track, today as it was in 1965, is “Christmas Time Is Here,” particularly the long, soulful instrumental version that clocks in at just over six minutes.

As the humble Guaraldi told critic Ralph J. Gleason in 1958, “I don’t think I’m a great piano player, but I would like to be able to have people like me, to play pretty tunes and reach the audience.” That wish was granted in a way that far exceeded anything he could have imagined. Derrick Bang summarizes it perfectly: “I’d say Guaraldi got his heart’s desire.”

:::: SOURCE: Concord Records ::::

CHRIS RIZIK: FOR URBAN ADULT RADIO TO KEEP ITS AUDIENCES, IT MUST STOP UNDERESTIMATING THEM

It began as a sanctuary, turned into a melting pot and now may be heading toward irrelevance. So goes the quarter century history of urban adult contemporary (UAC) radio, once the fastest growing format on radio. Even as the share of music bought by adults is increasing, the radio format originally formed for adults may soon be gasping for air, mostly from self-inflicted wounds.

It shouldn’t be this way. As urban radio was slowly becoming synonymous with “hip hop radio,” UAC (called “the Mix” in several markets) developed as the alternative, a place that may have begun with Luther, Anita and a bunch of oldies but developed into a tremendously fertile ground for both established artists and independents who wanted to reach an adult audience. A decade ago, it was a place where listeners could catch everything from soul to gospel to smooth jazz in a single spot. It wasn’t unusual to hear new music from artists like Smokie Norful, Sade, Charlie Wilson, Regina Belle and Mary J. Blige, back to back.

While some broadcast stations labeled as UAC are still fighting to keep those broad playlists (a good example is Howard University’s WHUR), for the most part the wide palette that was UAC has changed significantly over the past decade. A virtually unregulated consolidation of stations has removed the local touch from UAC and has altered the corporate view of its purpose, resulting in changes that have turned the once promising format into a predictable narrowcast. The "new" UAC strategy, using oldies to appeal to age 35+ listeners and new songs to appeal to younger adult listeners (age 25-35) who’ve graduated from urban hits radio, has hatched a schizophrenic mess. It is an odd combination of overplayed 70s and 80s hits (with such repetition they’ve forever ruined songs like “Sweet Love” and “A House Is Not A Home” for me) and down tempo hip-hop influenced new songs.

The format as it now exists relies on two fallacies, both of which underestimate the listeners: One is that older listeners only want to hear artists from the ‘70s and ‘80s. And not just that, they only want to listen to the 3 or 4 biggest hits of those artists. The other fallacy is that, in order to be palatable to younger adult listeners, any new music should be just a smoothed out version of urban hits radio. As one commentator put it, “Urban radio is where you hear Usher’s new hit. UAC is where you hear Usher’s new ballad.”

The rather insulting assumption that older audiences only want to hear the familiar has led to odd consequences for established artists: Longtime UAC favorites now find themselves unable to get airplay on their new music, even as their past hits are in heavy rotation. “That’s The Way of the World” may be played daily on your favorite UAC station, but you’re much less likely to hear Earth Wind & Fire’s new song “Guiding Lights.” Even Anita Baker, long the standard bearer of UAC, recognized the problem and introduced her new album with a cover of Tyrese’s “Lately,” essentially creating an instant “oldie” that fit the prejudices of UAC programming.

Things are even worse for younger artists whose natural sound may emanate from jazz, folk or soul. They are virtually forced to add hip hop elements (often teaming with hip hop artists) if they want a chance of airplay, and they'd better not feature electric guitar (a foundation of R&B bands for three decades), as that has become a prohibited instrument on new UAC songs. I would argue that the founding Holy Trinity of UAC, Anita Baker, Luther Vandross and Sade, wouldn’t get airplay if they were new artists today. So talented young singers like Vivian Green are issuing hip hop flavored singles that are, at best, awkward fits for their talents, but are obviously designed to meet the required UAC formula. The almost laughable consequence of these contortions is that Lil’ Wayne, through his guest appearances on several releases of other singers, has become one of the biggest artists on urban adult contemporary radio. Yes, Lil’ Wayne.

At its peak in the ‘90s and early ‘00s, UAC was a format that spoke to a broad spectrum of music fans weary from the race to the bottom of urban hits radio, and it appealed through a fairly open funnel of new sounds. But, with some notable exceptions, it has lost its way. The market for adult music has never been stronger, yet ratings for UAC broadcast stations in many cities like my hometown of Detroit are dipping, victims of narrow thinking at the highest level. And, unless they recalibrate soon, these stations may lose adult audiences for good. Those listeners are showing they will go to new sources to find music, and their numbers continue to grow on Pandora, Spotify, satellite and internet radio, even as UAC – a format created for them – becomes less relevant to their lives.

So where does the format go from here? There is still an opportunity for UAC to win back its audiences, but first it must stop underestimating them. It begins with overhauling the playlists, digging deeper into the catalogs of classic artists (trust me, Earth Wind & Fire really did release songs after “Reasons”) and taking the less traveled approach of searching for fresh, varied new adult-oriented music (including those with soul, rock, jazz, gospel or world influences) rather than taking the “safe” route of securing more of the same watered down hip hop sounds that dominate UAC today. There are many talented, passionate people working in UAC radio who are hamstrung from doing what they know is right. For the life of the format, they need to be set free to put away the marketing consultant reports and become music people again. There is a treasure trove of new music that continues to come out from major label and independent adult-oriented artists like Martin Luther, Anthony David, Sy Smith, Gregory Porter, Kindred, Mama’s Gun, Avery*Sunshine, Bilal, Nadir, Eric Roberson and Angela Johnson – music that covers a much wider spectrum of styles than is currently in vogue on UAC radio. Ultimately, the answer is deceptively simple: what UAC needs to deliver is what radio, at its best, has always brought to listeners: a sense of place, connection and, most of all, discovery.

By Chris Rizik
:::: SOURCE: Soul Tracks.com::::

NEW RELEASES - THE BALEARIC SOUND OF SADE, JOSE JAMES, BRIAN OWENS

THE BALEARIC SOUND OF SADE

Sunkissed Records continues to turnout the choice Balearic cuts with the third installment of their The Balearic Sound Of series. This time around the focus is on Sade who we all know has a deep catalog of smooth slow burners. As usual Sunkissed comes through with ace picks. I gotta give the label credit for doing their diligence and unearthing some hard to find mixes and b-sides. These are the smooth and deadly tracks that will keep the summer vibes going long after the leaves have all turned brown. Tracks: Hang On To Your Love (U.S. Remix); Super Bient Total (Extended Mix); Turn My Back On You (Extended 12 Inch Mix); and Siempre Hay Esperanza. - Reviewed by Joey Coco 09/2012 / Turntable Lab

JOSE JAMES - IT'S ALL OVER YOUR BODY- iTUNES EXCLUSIVE EP


Singer-songwriter José James has signed to EMI's Blue Note Records and is set to release his full-length label debut No Beginning No End on January 22. However, fans need not wait until then to get a taste of James' intoxicating blend of jazz, hip-hop, and R&B.  The vocalist has released the four-track "It's All Over Your Body EP" today exclusively through iTunes. "It's All Over Your Body" is also available now as a single through all other digital retailers and streaming services. iTunes is also currently featuring James' song "Trouble" as their free Single of the Week. Track listing: 1. It's All Over Your Body (album version); 2. Trouble (album version); 3. It's All Over Your Body (Spinna remix); 4. It's All Over Your Body (Spinna remix instrumental) and 5. Come To My Door (acoustic) ~ Blue Note Records

BRIAN OWENS - MOODS & MESSAGES

The first we've heard from St, Louis singer Brian Owens – and it's one of the better neo-classic soul records we've stocked in a little while! Brian has and old school reverent approach, but does his thing with fresh, unique perspective. He's a solid singer and songwriter – with a style that'll appeal to anyone with a love for classic soul. Brian's also a veteran, having served in Afghanastan and elsewhere in the Middle East – managing to sing of those experiences in a way that transcends politics and ideology – and doing so in universally soulful way. Impressive stuff! Includes "Soul Anthem (Bring It Back)", "Keep Movin On", "I Just Want To Feel Alright", "Open (Lovely Day)", "Beautiful Love", "Let's Get Out", "Oh I", "Troubled Man", "The Answer (PS: If You Wanna Feel Alright)" and more. ~ Dusty Groove

NEW RELEASES- GIRLS FROM BAHIA, DOS CAFUNDOS, CARLOS LYRA

GIRLS FROM BAHIA (QUARTETO EM CY) - PARDON MY ENGLISH

A very groovy record with a very fitting title – especially once you hear the lyrics of the tunes! The Girls From Bahia are actually the Quarteto Em Cy – one of the best harmony groups of the bossa era, and famous for classic recordings on the Elenco label – but working here in a rare American context that has them singing in English with heavily accented voices! The overall setting's quite similar to their Brazilian classics – gentle bossa backings arranged by Oscar Castro Neves, who brings an airy feel to the set – and it's great to hear the girls singing here in English, in ways that link back to the older harmony groups that clearly inspired them. The whole thing's incredibly charming, and titles include "Surfing In Rio", "Tup A Tup", "The Face I Love", "Canto De Ossanha", "Image", "Useless Landscape", "Tears", "Voce", and "Pardon My English". CD also features the bonus tracks "Berimbau", "I Live To Love", and "Amaralina Beach". ~ Dusty Groove

DOS CAFUNDOS - CAPITAO CORACAO

One of the more far out-sounding records we've heard on Far Out Records – a wild one from Rio's Dos Cafundos! It's a sometimes funky, sometimes noisy, but always dexterously musical batch of brilliant movements – with strains of noise rock and jazz, a la Zorn and Zappa – plus raw Tropical funk. It's never predictable, even if they wear myriad influences pretty proudly on their sleeves! The guitar playing is excellent – with lots of both acoustic and electric – plus heavy drums and percussion, flutes, violin and other elements. It almost sounds more like something we'd hear on Ipecac Records than Far Out – but the Brazilian roots are still very strong! Includes "Coriza", "Disse Me Disse". "Tupraca", "Carnica (O Barao Da Birosca)", "Carranca", "Un -Berum" and the 5-part epic title track. ~ Dusty Groove

CARLOS LYRA - CARLOS LYRA  

An overlooked 70s treasure from the great Carlos Lyra – and quite a different set than his more famous work of the bossa nova generation! The album's got some really wonderful electric piano – used in ways that help soften and deepen the feel of Lyra's aging vocals – similar to the early 70s music of Joao Donato, yet pitched with a different vibe overall. Some tunes are deeply personal, while others are upbeat and groovy – and titles include "Tem Do De Mim", "Feio Nao E Bonito", "So Mesmo Por Amo", "Quando Chegares", "Amar E Vivre", "Barquinho De Papel" and "Cante Uma Cancao". ~ Dusty Groove

NEW RELEASES - CLAUDIO SCOLARI PROJECT WITH DANIELE CAVALCA / SIMONE SCOLARI, MAX MERSENY, HELIOCENTRIC COUNTERBLAST

CLAUDIO SCOLARI PROJECT WITH DANIELE CAVALCA / SIMONE SCOLARI - SYNTHESIS

Synthesis is the second album from this young music project by Claudio Scolari, Daniele Cavalca and Simone Scolari. After the great success of their previous album Colors of Red Island, this new album expands on the musical ideas created in the first album: It continues the soundscape of melodies and harmonies coming from different musical styles and furthers the expression of this new and original wave of modern jazz. Musicians on the album are: Claudio Scolari – Drums, percussion, Synth Computer, Flute; Daniele Cavalca – Drum, Vibraphone, Piano, Melodica, Bass; and Simone Scolari – Trumpet. Official web site: http://www.claudioscolari.com / Daniele Cavalca Claudio Scolari on Facebook  .The new video of "Expression of Image" from the album 2012 "Synthesis" Video by Daniele Cavalca. http://youtu.be/cu-64qiZIm0

MAX MERSENY - THANK Y'ALL

We've never heard Max Mersney before – but the set's definitely one that makes us want to say "thanks" – given the deeply soulful approach to the groove! The set's definitely a jazz one – but it's also balance between funky and smooth sides of the spectrum – in a style that really echoes some 70s electric modes, yet which comes across with a freshly contemporary vibe in the end! Keyboards are as heavy as Max's lines on alto sax and flute – lots of great Fender Rhodes and organ that really help give the record a really soulful feel. Titles include "The 4th", "Back To New York", "Choo Choo", "Agi", "Soul Serenade", and "Maxxx". ~ Dusty Groove

HELIOCENTRIC COUNTERBLAST - TRIBUTE TO SUN RA

A great contemporary tribute to Sun Ra – put together in ways that are a lot more sensitive than other projects of this nature! These young players really seem to get the sense of Ra's Arkestra as an ensemble – and work in ways here that really recall the best energy of the early Saturn recordings – even on a few original numbers by members of the group! We're not familiar with most of the players, but together they work wonderfully – in a lineup that includes Nikolaus Neuser on trumpet, Kathrin Lemke on alto, Dirk Steglich on tenor and flute, Gerhard Gschlossl on trombone,a nd Rui Gincel on piano and "spacekeys". Titles include "Future", "Images", "Ancient Aiethopia", "A Call For Demons", "Do To Voodoo", and "Watusa". ~ Dusty Groove

ERIC VAN ARO RELEASES 'I'M NOT ALONE' (A TRIBUTE TO SAMMY DAVIS JR.)

With his interpretation of the hit song "I'm Not Anyone," internationally acclaimed singer Eric van Aro  adds new emotional layers to an old favorite and pays a touching tribute to the legendary entertainer Sammy Davis Jr. Starting September 14, van Aro's record label and production company, Eraki Entertainment, is making the new single available to music lovers as a digital track on iTunes.

"I'm Not Anyone" was written by Paul Anka for Sammy Davis Jr. as an anthem to self-determination. In a 2007 Billboard article, Anka listed the song among his personal favorites of the works that he had created, in part because Davis was such a great friend and inspiration.

In the new interpretation, van Aro honors the song's message of independence by not being content to imitate the original. With the famed Italian pianist Fabio Gianni, he breaks the song down to its piano-and-singer foundations in order to create innovative personal touches and new depths of meaning. The new version has received high praise from many individuals in the music and radio industry with disc jockeys in the United States, United Kingdom and Italy uniformly calling it "excellent."

As a member of a family of musicians and artists that stretches back eight generations, van Aro has always felt a deep connection to musical tradition, and growing up in show business gave him the opportunity to closely observe and know many major artists. Both Anka and Davis were good acquaintances of his mother, the Italian singer Caterina Valente, who took the photograph of Sammy Davis Jr. that is featured on the record sleeve.

Davis cast a special spell on the young van Aro. "If there is one thing Sammy Davis Jr. has taught us, it is to be yourself and do your own thing," van Aro said. "This is a song about empowerment, about believing – above all else – in yourself."

The intimate style of his version of "I'm Not Anyone," so different from the song's typical grandiosity, proves that van Aro has learned that lesson. The tune starts with a classic jazz piano opening, courtesy of Gianni, and van Aro begins singing softly, giving the impression that he is conducting a personal "conversation" with each listener. The song's intensity slowly swells until van Aro's vocals are a full, rich outpouring of sound, and Gianni's playing matches the heightened volume and emotional intensity. The two dial down the intensity only to have the music build once more. The vocals end with van Aro softly singing "I am free," and the track fades with an even softer melody from the piano.

After working in theater and with live concerts for several years, van Aro founded Eraki Entertainment in 1998. He has released several albums, including 2001's "From the Heart"; "Friends" from 2005, which established van Aro as one of the most accomplished singers on the jazz scene; and the 2008 release "Desert Motel." In 2010, he released the songs "Jazz", "UR" and "Evil Games" in collaboration with the Beats4life label.

"I'm Not Anyone" is available for $0.99 on CD Baby and iTunes. Interested parties can review the entire song before buying at Eraki Entertainment's YouTube channel at www.youtube.com/ErakiEntertainment.

:::: SOURCE: ERAKI Entertainment ::::

MERYL SAUNDERS / JERRY GARCIA - KEYSTONE COMPANIONS: THE COMPLETE 1973 FANTASY RECORDINGS

KEYSTONE COMPANIONS/ THE COMPLETE 1973 FANTASY RECORDINGS SPOTLIGHTS THE LEGENDARY MERL SAUNDERS/JERRY GARCIA COLLABORATION INCLUDING
SEVEN PREVIOUSLY UNRELEASED TRACKS

Deluxe four-CD box set, due September 25th (U.S./International release dates may vary), contains vintage photos, extensive liner notes and memorabilia

Double vinyl LP reissue of the very first Saunders/Garcia album

Live at Keystone due to be released concurrently

Keystone Companions/The Complete 1973 Fantasy Recordings, recorded live on July 10 and 11, 1973 at the Keystone club in Berkeley, California, beautifully captures the magical musical friendship of keyboardist Merl Saunders and guitarist Jerry Garcia. The Fantasy Records lavish four-disc set, scheduled for September 25, 2012 release on the heels of the 70th anniversary of Garcia’s birth, includes seven previously unreleased tracks, a special booklet featuring vintage photos; liner notes by Grateful Dead expert David Gans; and a poster, coaster, button, and “scratchbook” (replicating the design of the original album’s promotional matchbooks).

The sterling band featured Saunders on keyboards; Garcia, guitar and vocals; John Kahn, bass; and Bill Vitt, drums. Virtuoso David Grisman added mandolin to Bob Dylan’s “Positively 4th Street.” The mix of songs ranged from Saunders originals to covers of songs by Jimmy Cliff, Junior Parker, Holland-Dozier-Holland, Rodgers & Hart, Blind Lemon Jefferson, Arthur “Big Boy” Crudup, Lightnin’ Hopkins, Don Nix and Dan Penn and Dylan.

San Francisco-born keyboardist Merl Saunders had been writing and performing in New York before returning to the West Coast. Producer Nick Gravenites offered him studio work that included playing with guitarist Jerry Garcia, already at the helm of one of the world’s most popular rock bands, the Grateful Dead. “Garcia reminded me of [jazz guitarist] Eric Gale,” Saunders recollected, “Anything he played was very musical. He knew how to do a rhythm on any kind of tune — gospel, blues, jazz. I was amazed.”

Saunders also helped Garcia expand his harmonic knowledge and even showed him some Art Tatum runs. “He taught me music,” Garcia said of his friend.

By December 1970, a weekly jam session featuring Saunders, Garcia, Kahn, and Vitt had become a weekly gig at San Francisco’s Matrix. Of course Garcia was already a major figure in the musical counterculture as lead guitarist for the Dead, so he kept this new band low-key — so much that it never really had a name (although it was referred to as The Group at times.) As Garcia said, “I couldn’t take the pressure of being a double celebrity. It’s a drag just being it once.” (That didn’t stop the itinerant Garcia from having a third band as well, Old and In the Way, with David Grisman, Peter Rowan, and Vassar Clements.)

Live at Keystone, originally released as a double LP, was recorded by Grateful Dead associates Betty Cantor and Rex Jackson; all four artists are credited as producers. Additional material was released as Live at Keystone, Volumes 1 & 2 in 1988. Keystone Companions/The Complete 1973 Fantasy Recordings assembles the original recordings and presents them, remastered, in the order in which the songs were performed at those two shows. The repertoire spans blues, rockabilly, jazz, funk, Broadway, Motown, two Bob Dylan songs, and Jimmy Cliff’s immortal “The Harder They Come.” Some songs appear twice, providing the opportunity to hear how the band kept it loose and fresh.

As Gans notes, “This music is as exciting and satisfying 40 years later as it was on the day it was made.”

On the collection’s September 25 U.S. street date, Fantasy Records will also reissue, on multi-color double vinyl LP, the first Saunders/Garcia album Live at Keystone.

:::: SOURCE: Concord Records ::::

PETE ESCOVEDO LIVE FROM STERN GROVE

“What’s up, San Francisco? Are you ready to have a good time?” asks timbales player and band leader Pete Escovedo at the beginning of Live from Stern Grove, his terrific new album that captures a live show he played earlier this year at the legendary 75-year-old San Francisco venue. Escovedo and his band then swing into a breezy rendition of the Tito Puente classic “Picadillo Jam,” and from that moment it’s readily apparent the band can deliver on Escovedo’s promise. Live From Stern Grove is set for digital release September 25, 2012 on Concord Picante/Stiletto Flats Inc. (There will be a physical release in 2013, international release dates may vary.)

The ensemble brings that same energy to the following track, Wayne Wallace’s “Take Some Time,” a song that allows guitarist Michael Angel Alvarado to exchange spirited riffs with the talented players in the large horn section.

It makes sense Escovedo would recruit a phenomenal player like the Bay Area’s Alvarado to play in his band. Early in his career, Escovedo toured with guitarist Carlos Santana for three years before starting the Latin band Azteca, a group that successfully established Escovedo as a major Latin jazz artist. Throughout the ’70s, Escovedo collaborated with many of jazz’s best players, including Herbie Hancock, Bobby McFerrin, Cal Tjader, Stephen Stills, Anita Baker, George Duke, Dionne Warwick, Barry White and Chick Corea. Given Escovedo’s 50-year history of playing jazz, it’s fitting that several of jazz’s best players contribute to Live from Stern Grove.

Ray Obiedo dials in some terrific guitar work on Escovedo’s rendition of his “Brasiliero,” a contemporary jazz number that benefits from Obeido’s spirited soloing. Guitarist Michael Angel’s intense playing on the first half of “True or False” practically pays homage to Santana before giving way to a fantastic saxophone solo that comes courtesy of special guest Dave Koz.

“Dance” is an original salsa number that Escovedo penned with the help of sons Juan and Peter Michael, as well as daughter Sheila E. The song’s lyrics about losing control and feeling the rhythm “deep in your soul” refer to the tune’s almost-frantic tempo. Guest Sheila E. plays congas on the song, adding to the complex percussion rhythms designed to keep the dance floor moving. The final lyric, “it’s going to make you dance,” is one heck of an understatement.

Sheila E. returns to play congas on “Solo Tu”; you can hear Escovedo introduce her to the audience at the beginning of the percussion-driven song. Escovedo then takes over lead vocals in “Fly Me to the Moon,” a fan favorite he spices up with some Latin flair. Trumpet player Arturo Sandoval shows up on the album’s closing number “Suenos De Los Torreros,” and you can actually hear the audience enthusiastically applaud at the end of his solo and again as Escovedo politely says “thank you all; good night” at the end of this incredible performance.

:::: SOURCE: Concord Records ::::

ELLEN ROBINSON - DON'T WAIT TOO LONG

Since her arrival from the East Coast in the late 1970s, Ellen Robinson has established herself as a protean figure on the active San Francisco Bay Area vocal scene. She's made her mark as an educator, choral director, dynamic performer, and -- over the last ten years -- recording artist.

Her first two albums, On My Way to You (2001) and Mercy! (2006), earned her fans beyond the Bay, including vocal master Carol Sloane who memorably wrote that "Hers is a white chocolate sound, intense and pure, swinging and bitter-sweet." Robinson's momentum is sure to continue with the release on October 16 of Don't Wait Too Long (EMR Music), a live date recorded before a packed house at the Freight & Salvage in Berkeley with the singer's simpatico band of Kristen Strom (soprano and tenor saxophone), Murray Low (piano), Sam Bevan (bass), and Dan Foltz (drums). Also on hand was her indispensable producer and longtime friend, Bud Spangler.

"I've had the great pleasure of working with Ellen as her drummer and producer for well over a decade," says Spangler, who's also produced sessions for Taylor Eigsti, vocalist Ed Reed, and Mark Levine's Grammy-nominated Latin Tinge, among many others. "I know that she never sings a song unless she understands its message thoroughly and also embraces its meaning entirely. Each song is a fully realized story. As you listen to these performances, let yourself feel what they're telling you. Ellen always does."

"I have to feel connected to the lyrics," Robinson affirms. "I'm not a gymnastic singer. I do like taking a straight-ahead jazz tune or a pop tune and making it my own. I pick songs that feel inclusive, so that sometimes steers me in a little different direction in terms of my repertoire."

Focusing on ballads with sinuous melodies, Robinson sustains a dreamy mood with a deceptively unadorned style on Don't Wait Too Long. From rarely sung Songbook items such as the album opener "Dance Only With Me," by Jule Styne, Betty Comden, and Adolph Greene, and Irving Berlin's "Be Careful It's My Heart," to Joni Mitchell's "If" (Rudyard Kipling's poem) and the recent-vintage title track, composed by Jesse Harris, Larry Klein, and Madeline Peyroux, Robinson distills the essence of each song. She also contributes three originals ("Soon," "Tick Tock," "The Storm") that fit seamlessly into the sophisticated program.

Growing up in Stamford, Connecticut, Robinson realized by the time she was in high school that music was her calling, but her family offered little support for her dreams of a career as performer or composer. She earned a music education degree at Manhattanville College with a major in piano, and once she was out of college she taught music to kids but "kept writing my own music, which kept me sane and alive."

After relocating to the Bay Area in 1976, Robinson continued to teach music at private schools and at the same time to develop her craft as a singer-songwriter. She happened upon an album by Carmen McRae and was floored: "I didn't know people sang like that."

Years of intensive, self-directed study followed as Robinson immersed herself in the music of McRae as well as Sarah Vaughan, Billie Holiday, Betty Carter, Sheila Jordan, Shirley Horn, Carol Sloane, and many other vocal geniuses.

Meeting drummer Bud Spangler at the San Francisco jazz spot Storyville launched an ongoing creative partnership between Robinson and Spangler. "Bud was the angel in my life," says the singer.

A gifted educator who teaches at the Jazzschool in Berkeley and Community Music Center in San Francisco, Robinson directs several vocal programs and ensembles, including a musical theater workshop at Stagebridge, and the Anything Goes Chorus, a community chorus that gives public performances and free concerts at retirement homes, homeless shelters, prisons, and halfway houses since the early 1980s.

She doesn't see much separation between her work in the classroom or on stage. With Don't Wait Too Long she offers an object lesson in music's transformative power, a power that she both embodies and transmits. "As a teacher I feel like I'm a performer, and as a performer I feel like a teacher," Robinson says. "I want people to be entertained and I want them to feel different after they've heard my music."

Ellen Robinson and her band (Kristen Strom, Murray Low, Sam Bevan, Dan Foltz) will celebrate the release of Don't Wait Too Long at the Freight & Salvage (2020 Addison Street, Berkeley) on Sunday, 10/21 at 8:00 pm. Tickets are $20.50 in advance, $22.50 at the door.

www.ellenrobinson.com

NATHAN PACHECO RELEASES SELF-TITLED ALBUM

With two PBS concert specials and a headlining North American tour on the horizon, singer Nathan Pacheco is set to release his self-titled Disney Pearl debut album. Produced by Leo-Z, the new album showcases the passionate vocals Pacheco first revealed with the 2009 Voices project. With "Avatar" set as the premiere focus track, the new album arrives in stores September 18th while the PBS special, "Introducing Nathan Pacheco: Live in Concert" premiered August 11 and continues to air across the country.

Like Andrea Bocelli and Josh Groban before him, Nathan Pacheco mastered the art of pop/classical crossover. In the album's 12 tracks (seven of which he co-wrote) the versatile tenor sings in four languages – English, Spanish, Italian and French – as well as multiple genres, from pop to folk to opera. "All my efforts to master technique are for the sole purpose of connecting with people," Pacheco says. "That's what I go for every time."

Songs on Nathan Pacheco include:

"Avatar" – This beautifully orchestrated debut focus track represents Nathan's core message of love and hope.

"Perdona" – An intimate ballad sung in Spanish that stresses forgiveness as a key to true love.

"Nessun Dorma" – Puccini's timeless aria, given a daringly modern arrangement and sung magnificently by Pacheco.

"Now We Are Free" – Pacheco here sings the haunting ballad from the Academy Award-winning blockbuster, "Gladiator."

"Oyela" – A sweet-toned Spanish song about finding one's place in life and love.

"Infinito Amore" – One of the album's most sweeping tracks, this song, sung in Italian, captures all the drama and passion of Nathan's vocals.

"Tears From Heaven" – A hymn-like song inspired by early American folk melodies, performed by Nathan with true grace.

"Don't Cry" – A ravishing testament to hope against all odds, with Nathan's heart-rending lead vocals backed by symphony orchestra.

"Que L'Amour" – This lilting tune, sung in French and featuring world music flourishes, takes a sly look at relationships.

"Caruso" – Pacheco brings his own spin to this well-known composition by the late Italian songwriter Lucio Dalla. Pure passion.

"Unbreakable" – Not to be outdone by Dalla, on this Pacheco-co-penned song, Nathan sings about the bond only true love seals.

"La Scelta" – A mournful Italian song about loss. Says Pacheco, "You realize things will never be the same, but in grief you accept that that's the way that it is."

"Hallelujah" – Think Jeff Buckley had the last word on Leonard Cohen's masterpiece? Think again, as Pacheco caps his album with an inspirational version of the song.

A native of Washington, D.C., Nathan Pacheco studied music in college. He admired the great operatic tenors, from Pavarotti to Domingo, but also loved pop music, especially classical crossover artists like Andrea Bocelli and Josh Groban. In 2006, Nathan auditioned for legendary composer-performer Yanni, making his international debut with Yanni's "Voices" project in 2009.

That led to his signing with Disney Pearl, which released last Christmas the single "O' Holy Night," a duet with Welsh multi-platinum mezzo-soprano Katherine Jenkins. He and Jenkins later embarked on a sold-out 25-city U.K. tour with the London Symphony Orchestra.

Last December, Nathan performed his first headlining concert dates at the Geffen Playhouse, where he premiered songs from the new album, which was recorded in part at London's Air Lyndhurst Studios with London's Philharmonia Orchestra. His PBS concert specials were filmed before a live audience in Santa Monica at the Broad Theater. "Introducing Nathan Pacheco: Live In Concert" premiered August 11 and will run across the country during upcoming PBS pledge weeks and will be followed by "Nathan Pacheco: Christmas" airing the month of December.

Nathan Pacheco will be available September 18, 2012. For more information on Disney Pearl Series releases, please visit Disney.com/music, Facebook.com/ disneymusic or follow us at Twitter.com/disneymusic.

SOURCE Walt Disney Records

HERBIE MANN - MELLOW / HOLD ON, I'M COMING

This two-disc set from Collectables features a pair of out of print Herbie Mann LPs: Mellow and Hold On, I'm Coming. Originally issued in 1981 and 1972, respectively, Mellow contains a live date from 1977. These 11 jazz-pop tracks include "Cinnamon Flower," "Hold On, I'm Comin'," and two separate versions of "Memphis Underground." This is an enjoyable reissue from the Mann's massive catalog on Atlantic Records, but most listeners would be better served with one of the many compilations in print. - by Al Campbell, AMG

Mellow was released by Atlantic Records after dropping him from their roster. Made up primarily of outtakes from mid- to late-'70s recording sessions, the album sounds like the hodgepodge it is. Highlights include a take on Milton Nascimento's "Cinnamon Flower" and a lengthy version of Mann's classic "Memphis Underground," recorded at the 1977 Montreux Jazz Festival with guests Sonny Fortune, David Newman and the Brecker Brothers. The low point arrives with the opening track, a cover of Bob Marley's "Bend Down Low" left over from the Reggae sessions, in which Mann actually sings the lead vocal. - by Jim Newsom, AMG

This is one of the best Herbie Mann recordings and arguably his most rewarding of the 1970s. This long out of print LP features the leader/flutist, David Newman (on tenor and flute), the avant-garde guitarist Sonny Sharrock, and a fine backup rhythm section (electric pianist Pat Rebillot, bassist Andy Muson, and drummer Reggie Ferguson) stretching out on a variety of R&Bish material including "Respect Yourself," "Memphis Underground," and "Hold on, I'm Comin'." The high quality of the solos and the spirited ensembles (which were inspired by the audience at the 1972 New York Jazz Festival) make this a generally memorable session. - by Scott Yanow, AMG

Tracks on Mellow:
1. Bend Down Low (Bob Marley) 6:51
2. Sir Charles Duke (Herbie Mann) 5:21
3. Cecelia (Paul Simon) 5:34
4. Cinnamon Flower (Milton Nascimento) 5:06
5. Memphis Underground (Herbie Mann) 17:03
6. Another Star (Stevie Wonder) 5:28

Tracks on Hold On, I'm Comin':
1. (Gimme Some Of That Good Old) Soul Beat Momma (Herbie Mann) 7:35
2. Never Can Say Goodbye (Clifton Davis) 4:35
3. Respect Yourself (Luther Ingram/Sir Mack Rice) 8:51
4. Memphis Underground (Herbie Mann) 13:06
5. Hold On, I'm Comin' (Isaac Hayes/David Porter) 4:07

:::: SOURCE: Into The Rhythm ::::

NEW RELEASES – WEATHER REPORT, CHARLIE MINGUS, KLANG

WEATHER REPORT – LIVE IN BERLIN 1975

A massive mid 70s live set from Weather Report – a record that has the group stretching out even more than on their classic studio albums! There's an undercurrent of darkness here that we really love – an edge that always makes us feel like things are about to go off the rails, or maybe take one of the more avant Miles electric turns – even though the group really keep things tight throughout, and manage to swing searing sounds into soaring solos with effortless ease! Lineup includes Joe Zawinul on Fender Rhodes (a noisy one at that!), Wayne Shorter on tenor and soprano sax, Alphonso Johnson on bass, Chester Thompson on drums, and Alex Acuna on percussion – and titles include "Mysterious Traveller", "Freezing Fire", "Scarlet Woman", and the 20 minute long "Badia/Boogie Woogie Waltz". (Limited pressing of 2000 copies.)

WEATHER REPORT – LIVE IN COLOGNE 1983

A soaring set from Weather Report – captured here in an early 80s lineup that features great keyboards from Joe Zawinul and sublime saxophone from Wayne Shorter! The tunes are nice and long, and bristle with that power the quintet had at this point – a well-earned tightness that really made concerts some of their best moments – propelled by rhythms that really let the main solos fly free, especially in a live setting like this. Victor Bailey is on bass, Omar Hakim on drums, and Jose Rossy on percussion – and the set features loads of long tracks – including "Where The Moon Goes", "Fast City", "D Flat Waltz", "Two Lines", "Plaza Real", "Procession", and a great long medley of classics.

CHARLIE MINGUS – OH YEAH

Quite a crazy little record from Charles Mingus! Mingus plays piano and sings (yes, you read that right!) in a tight sextet with Booker Ervin and Roland Kirk on reeds, and Jimmy Knepper on trombone. Mingus is trying out a kind of messed-up, blues-inspired sound here – but for some reason the tracks sort of fall short of their potential, perhaps because they're not infused with the same clarity and anger as his earlier works, or perhaps because Mingus' work on the piano just isn't as fierce as his bass playing. Still, the album's a nice one, and way better than the other Mingus piano album, on Impulse. Titles include "Oh Lord, Don't Let Them Drop That Atomic Bomb On Me", "Wham Bam Thank You Ma'am", "Devil Woman", and "Passions Of A Man".

KLANG - BROOKLYN LINES...CHICAGO SPACES

Tremendous work from this young group – a set that embraces a range of modern jazz traditions, then pushes them forward strongly to the next generation! The lineup here features some of the sharpest talents of the current Windy City underground – James Falzone on clarinet, Jason Adasiewicz on vibes, Jason Roebke on bass, and Tim Daisy on drums – all players who feel each others' strengths instantly, and find ways of coming together that are even greater than the sum of the already-strong parts! Falzone's clarinet is especially amazing – a fresh new voice on the instrument that pushes past even John Carter or Jimmy Giuffre – showing us that the instrument can really carve strong modern lines, when in the right hands. Adasiewicz's vibes are always a treat – and ring out beautifully – and both Roebke and Daisy have the right sort of freewheeling rhythms to set even more fire to the other two players. Titles include "Ukranian Village", "Carol's Burgers", "Chicago Spaces", "Brooklyn Lines", "Jazz Searching Self", and "Alone At The Brain".

:::: SOURCE: Dusty Groove ::::