PONCHO SANCHEZ & TERENCE BLANCHARD – CHANO Y DIZZY!

For more than three decades as both a leader and a sideman, conguero Poncho Sanchez has stirred up a fiery stew of straightahead jazz, gritty soul music, and infectious melodies and rhythms from a variety of Latin American and South American sources. His influences are numerous, but among the more prominent figures that inform his music are two of the primary architects of Latin jazz - conga drummer and composer Chano Pozo and trumpeter Dizzy Gillespie. Sanchez pays tribute to these two titans on his new album, Chano y Dizzy!, his 25th recording as a bandleader on Concord Picante. For the first time, Sanchez and Francisco Torres, long time band member (trombone/vocals), join forces to produce the new album.

Joining Sanchez on the 11-song set is multi-Grammy winning trumpeter Terence Blanchard. It makes sense that, for this project, Sanchez recruited fellow label mate Blanchard, a New Orleans native who literally grew up amid the Cuban and Latin jazz scene and a longtime fan of the music's multicultural underpinnings. Blanchard has established himself as one of the most innovative and influential jazz musicians and film score masters of his generation. As a film composer, Blanchard has more than 50 feature film scores to his credit. Currently at work on the score for George Lucas's long-awaited upcoming movie, "Red Tails," the Golden Globe nominee and four-time Grammy winner's music was recently featured on Broadway in Chris Rock's Tony-nominated play, "The Mother****** With Hat." Blanchard is currently at work on the music for the Broadway remake of A Streetcar Named Desire and has also been commissioned by the Opera St. Louis for a project that will premiere in 2012. His latest CD, Choices, was released by Concord Jazz in 2009 to widespread critical acclaim.

"These two musicians were the pioneers of what is now known as Latin jazz," says Sanchez. "Chano Pozo was a genius. He's considered the godfather of conga drummers, and he's someone whom I respect a great deal. And of course, Dizzy Gillespie was an iconic artist in American jazz. I had the honor and pleasure of working with him on several occasions. These guys were the first musicians to bring elements of Latin music to American jazz - which has resulted in some of the greatest music of the last 50 or 60 years. I felt that it was time to pay tribute to them and their accomplishments."

While the album includes songs originally written and performed by the two legends, it also showcases compositions crafted by other writers that capture the flavor of traditional Latin jazz. Sanchez's touring band assists with the songwriting and arranging. The studio ranks include: pianist David Torres, saxophonist Rob Hardt, trumpeter Ron Blake, trombonist/vocalist Francisco Torres, bassist Tony Banda, timbalist George Ortiz, and percussionist Joey De Leon, Jr.

"The great thing about this band is that they take a very traditional approach to Latin music,' says Blanchard. "They pay a lot of attention to the detail of the specific rhythms they're playing, and they understand the historical significance of keeping that heritage alive."

Although born in Laredo, Texas, in 1951 to a large Mexican-American family, Sanchez grew up in a suburb of L.A., where he was raised on an unusual cross section of sounds that included straightahead jazz, Latin jazz and American soul. By his teen years, his musical consciousness had been solidified by the likes of John Coltrane, Miles Davis, Cal Tjader, Mongo Santamaria, Wilson Pickett and James Brown. Along the way, he taught himself to play guitar, flute, drums and timbales, but eventually settled on the congas.

At 24, after working his way around the local club scene for several years, he landed a permanent spot in Cal Tjader's band in 1975. "I learned a great deal from Cal," says Sanchez, "but it wasn't as though he sat me down and taught me lessons like a schoolteacher. Mostly it was just a matter of being around such a great guy. It was the way he conducted himself, the way he talked to people, the way he presented himself onstage. He was very elegant, very dignified, and when he played, he played beautifully. The touch that he had on the vibes - nobody has that sound. To me, he was - and is, and always will be - the world's greatest vibe player."

Sanchez remained with Tjader until the bandleader's death in 1982. That same year, he signed with Concord for the release of Sonando, an album that marked the beginning of a musical partnership that has spanned more than 25 years and has yielded more than two dozen recordings. Chano y Dizzy! is the latest installment in that ongoing partnership.

Sanchez, Blanchard and company set the tone early with an opening medley of lively Pozo tunes: "Tin Tin Deo," "Manteca" and "Guachi Guaro." Blanchard delivers down some sultry trumpet lines over Sanchez's percussion and vocals, while the rest of the band lays down a solid and spicy rhythmic bed throughout.

The followup track is a simmering rendition of Dizzy's "Con Alma," with numerous tempo changes that give Blanchard room to flex his muscles in varying rhythmic contexts within a single song.

Further in, "Siboney" is an old Cuban song by Ernesto Lecuona that's consistent enough with the overall vibe of the record to make the cut. "Ron Bake called me and said, ‘Poncho, I've always liked this tune, but Chano didn't write it and neither did Dizzy.' I said, ‘It's alright. It fits. It'll be fine.' I've always liked the tune myself, so I was glad that we finally got a chance to record it. I think it complements the artists and the period we're paying tribute to."

The light-hearted "Groovin' High" is a Gillespie composition originally conceived as a swing tune, but Sanchez and company rearranged it here to fit more of a mambo vibe. The funky "Harris's Walk," another song penned by Blake, was written in the style of Eddie Harris, "but I liked it so much at rehearsal that I said, ‘We gotta put this on the record,'" says Sanchez.

"Jack's Dilemma," written by Francisco Torres, came together on the fly with a stripped down rhythm section consisting of Sanchez on conga and Joey De Leon on trap drums. "There are no timbales, no bongos," says Sanchez. "The engineers in the studio sort of slapped together a drum set. Joey tuned them the way he wanted, and man, ten minutes later we were recording. In the end, I think it sounded great."

The album ends just as it starts, with a staccato and highly rhythmic Pozo tune called "Ariñañara." Recorded by several artists through the years, the song is what Sanchez calls "straight-up hardcore salsa music." It serves close to a recording that celebrates some of the most innovative music to emerge from the 20th century.

"To me, Latin jazz is the world's greatest music," says Sanchez. "It has the melodic and harmonic sophistication of jazz and American standards, and the flavor and energy of Latin American music. What I'm most proud of is that this music - while it may sound exotic at times - is from America. It was born in New York City, when Chano Pozo met Dizzy Gillespie for the first time in the mid-1940s. They created something that didn't exist before in this country. I'm very proud to take this music all over the world all the time."

1. Chano Pozo Medley: Tin Tin Deo / Manteca / Guachi Guaro 6:48
2. Con Alma 5:31
3. Wandering Wonder 2:58
4. Siboney 4:54
5. Dizzy's Dashiki 4:08
6. Groovin' High 5:19
7. Nocturna 6:25
8. Harris' Walk 4:46
9. Promenade 5:29
10. Jack's Dilemma 4:04
11. Ariñañara 4:45

SANDY BARBER – THE BEST IS YET TO COME

Records are made every day, released every week, and even with the best will in the world this means that scores of records are ignored or lost from the moment that they are pressed. However it is also true that the collector, the DJ and the fanatic are all out there looking for something that can lift their soul. So there is always hope that if your record is good enough, one day it will be discovered and revered. Artists as diverse as Terry Callier, David Axelrod and Vashti Bunyan have all benefited from this effect, and if there is any justice in the world so should Sandy Barber’s album The Best Is Yet To Come .

Born in New York City on June 8th 1955, Barber grew up and attended school just across the river in Englewood New Jersey. With the encouragement of her big family she was singing from an early age at any events that would have her. As a teenager she came second at the legendary ‘Talent Night’ at the Apollo Theatre in Harlem. The Apollo was known throughout America as the premier venue of the African American circuit, and was infamous for its tough audience. Even stepping onto that stage was a challenge, but to finish in the top three was a serious achievement.

The appearance at the Apollo was heard by Chris Curry who arranged for Sandy to audition for David Jordan a producer who was working on a group called Rare Pleasure. He had a song called ‘Let Me Down Easy’ and felt that Sandy’s voice was perfect for it. The record released on Cheri Records became a club anthem – today probably better known for being sampled by David Morales on his hit ‘Needing U’ – with Sandy’s vocals perfectly capturing the songs pleading nature. Sandy didn’t enjoy working with a group and went out on her own soon after, a decision that was vindicated when a mutual friend introduced her to the producer, writer and record label owner Clyde Otis, who Sandy describes as ‘her mentor’. Otis liked what he heard and signed her immediately to the deal that would produce her album The Best Is Yet To Come.

When he signed Sandy he was bringing with him over a quarter of a century of knowledge and experience and he used it all in putting together the record. The vocal arrangements were handled by Tasha Thomas, the incredible singer who had made her name in the stage play of ‘The Wiz’, who recorded the wonderful ‘Shoot Me (With Your Love), at the time one of the hottest singers on the scene. The musical arrangements were by Nat Adderley Jr, son of the jazz trumpeter, and a brilliant keyboard player in his own right, who had recorded with the group Natural Essence on Fantasy.

The album opens with ‘Look Out Sky’ which lays out the stall for the whole album. A glorious uplifting soul song that benefits from the thoughtful arrangement that allows for plenty of space within the record for the voice to shine through. ‘I’ve Got Something Good’ has a pounding four to the floor rhythm and a great horn arrangement as Sandy tells about her good thing. Especially notable on this track is the vocal backings that mimic and sing along with the rising synthesiser part. ‘The First Time’ takes the tempo way down and is a jazz based ballad reminiscent of Marlena Shaw’s ‘Go Away Little Boy’, with a fine string arrangement. The first side ends with the fantastic ‘Don’t You Worry Baby (The Best Is Yet To Come), seven minutes of carefully arranged ecstatic soul. The record builds from a elongated intro, through some banked backing vocals to the full on song, before dropping into an instrumental middle section of strings and saxophone, and an improvised out-section where Sandy’s voice comes right back in.

The album has become sought after in recent years for the cut that opens up side two ‘I Think I’ll Do My Stepping At Home’, once more the rhythm section and its arrangement proves to be the perfect foil for Sandy’s love-worn but defiant voice. This is followed by the discofied version of the theme to ‘Wonderwoman’ the late 70s TV staple starring Linda Carter. This contrasts with the vibrant, but extremely jazzy ‘Can’t You Just See Me’ which rolls along on an astounding piano part and some bluesy guitar. The original album ends with the emotional overload of the second ballad of the album ‘Stay Here With Me’, a fitting showcase for Sandy’s voice.

‘Wonder Woman’ was lifted as a single, possibly in the hope that it would get sales on the back of the success of the TV series, and it was backed by a non-album B-side, ‘Remember Me’ another cut that could have sat very well on the album. Access to the master tapes at Otis’ Argon productions has allowed us to unearth four previously unreleased tracks including the lovely ‘Let’s Get Back Together’, that appear to have been recorded later, possibly for a follow up album for The Best Is Yet To Come.

Sandy continued singing, joining the group Blue Moderne who released records on Roll and Atlantic, before appearing solo as Sandy B on Vinylmania, Nervous and King Street amongst others. She lives in New Jersey and continues to sing in and around New York.

Sandy Barber / The Best Is Yet To Come Tracklist:
1) Look Out Sky
2) I've Got Something Good (Come And Get It)
3) The First Time
4) Don't You Worry Baby (The Best Is Yet To Come)
5) I Think I'll Do Some Stepping (On My Own)
6) Wonder Woman
7) Can't You Just See Me
8) Stay Here With Me
9) I'll Belong To You / Yea Baby
10) Can't Nobody Take Your Place
11) Remember Me
12) Woman Of The World
13) Let's Get Back Together
14) I Think I'll Do Some Stepping (On My Own) (John Morales Alternative Mix)

ACOUSTIC ALCHEMY - ROSELAND

The story of Acoustic Alchemy has always been about innovation and adaptability. In the nearly 25 years since their first recording, the UK-based group has crafted a sound that maximizes the potential of not only the acoustic guitar but also its electric counterpart - and in so doing they've explored the subtle corners where jazz, pop, world music and other genres intersect. Along the way - with the help of a massive worldwide following created by consistent touring - they've weathered personal setbacks, dramatic shifts in musical trends, and in recent years, sweeping changes in the music industry. The next step in this ongoing journey is Roseland, their new recording set for release on September 27, 2011. While they may call themselves Acoustic Alchemy, Carmichael and his creative partner and co-pilot, Miles Gilderdale, exercise plenty of creative license by injecting generous elements of electric guitar into the mix on Roseland. This sonic edge comes courtesy of Gilderdale, who was an electric player first and foremost before joining the band after the death of co-founder Nick Webb in early 1998. Together, Carmichael and Gilderdale explore elements of jazz, rock, country and reggae - all of which makes for an album that's both eclectic and yet cohesive at the same time.

Also along for the ride is the band's usual touring lineup: keyboardist Fred White, bassist Julian Crampton and drummer Greg Grainger. Other assistance in the sessions comes from Hammond organist Ricky Peterson, pedal steel player Frank Mizen, drummers Dan Mizen and Sam Hobbs and a full complement of horn players.

Roseland was recorded in Gilderdale's newly constructed home studio in York, England, a place where the band could be creative without the pressure of a ticking clock. "We used the studio as a place to write," says Carmichael. "We would just throw ideas at each other. You try things as you go along. That's the beauty of having your own studio. You can try an electric guitar solo here, a steel-string solo there, a trombone solo somewhere else, whatever you like. It may have taken us a little longer, but if something didn't work, it didn't matter. We just tried things until we found what did work."

"For a lot of people, instrumental music is just a sound that plays in the background," says Carmichael. "But we put a lot into it - not just with this record but with every record we've ever made. I'd like to think that after all these years, we've learned how to take people on a journey. A lot of our fans have said that we do that for them. As long as they keep coming back, and as long as they want to stay on that journey, we'll keep doing what we're doing."

Acoustic Alchemy - Roseland1. Marrakesh 4:11
2. One For Shorty 3:46
3. Templemeads 4:45
4. Marcus 4:38
5. The Ebor Sound System 5:21
6. State of the Ark 4:11
7. Swamp Top 4:37
8. Sand On Her Toes 4:36
9. Roseland 3:40
10. World Stage 4:46
11. Stealing Hearts 3:31
12. Right Place, Wrong Time 3:31
13. A Kinder Loving 3:55

ISAAC HAYES – HOT BUTTERED SOUL / BLACK MOSES / SHAFT (4-CD BOX)

Until Isaac Hayes released Hot Buttered Soul in 1969, soul music had been a singles-oriented genre. Best known as the partner of David Porter in writing such Stax hits as "Hold On! I'm Coming," "Soul Man" and "B-A-B-Y" among others, Hayes, along with Marvin Gaye, Stevie Wonder and Curtis Mayfield gave the soul album a higher purpose, superseding the standard practice of assembling LPs around recent hits and filler. Even so, a four-song album whose two "singles" clocked in at 12:03 and 18:42 was unprecedented.

Stax Records' reissue of Hot Buttered Soul includes two bonus tracks (single edits of "Walk On By" and "By the Time I Get to Phoenix"), digital remastering, new rare photographs, and expanded liner notes by both music historian Bill Dahl and Hayes fan Jim James from the band My Morning Jacket.

Hayes had recorded one previous album, Presenting Isaac Hayes in 1968, which failed to impact the charts the way his Porter-collaborated song compositions had for other Stax artists. Nonetheless, label president Al Bell green-lighted Hayes' encore long-player. Hayes went to cross-town Ardent Studios to lay down the tracks. "There was absolutely no attempt to be commercial," Marvell Thomas, the album's co-producer, told annotator Dahl. "It was just, ‘Let's do these songs. Let's do 'em like we like to do 'em. Play whatever you want to play and have a good time doing it.' To the company, it wasn't, ‘We're going to make one of the all-time great albums and it's going to sell huge.' It was, ‘Okay, let Isaac do his thing.'"

Opening with Hayes’ sexy, intimate delivery of Jimmy Webb’s “By the Time I Get to Phoenix,” clocking in at 18 and a half minutes, the album also included an extended remake of Burt Bacharach and Hal David’s “Walk On By,” given definition by the spacey lead guitar of Harold Beane. “The guitar solo was not something that was planned on front end,” recalled Thomas. “It was like, ‘Well why not?’ We just stretched out and let it go. When you get in the middle of it, you just kind of ride with it until it stops.” Which it did after 12 minutes. Beane joined Thomas on piano and Hayes himself on organ, backed by the surviving members of the Bar-Kays, a band ravaged by the airplane accident that also claimed Otis Redding. Guitarist Michael Toles and drummer Willie Hall filled out the band. Interestingly, the overdubbing of strings, horns and backing vocals was done in Detroit instead Memphis, thanks largely to the influence of producer Don Davis, who introduced Al Bell to veteran Motown arranger Johnny Allen. Another Detroiter, Dale Warren — the nephew of Berry Gordy’s ex-wife — orchestrated “Walk On By,” with a violin section populated with members of the Detroit Symphony.

The original album contained two other songs as well as the hits. “One Woman,” penned by Wilson Pickett accompanist Charlie Chalmers and his future wife, Sandra Rhodes, was more of a traditional Memphis soul ballad, and was recorded also by Al Green for his Green Is Blues album. The only number on Hot Buttered Soul bearing Hayes’ writing imprimatur (a co-write by Bell) sported one of the longest song titles ever conceived: “Hyperbolicsyllabiccsesquedalymistic.” According to Thomas, “(The title) means the propensity to make a whole big deal of using words to show off your vocabulary.”

The reissue contains single mixes for both “By the Time I Get to Phoenix” and “Walk On By,” extending the four-song album to six. The new edition also contains a second set of liner notes by Jim James, lead vocalist, songwriter and producer for the Kentucky-based American rock band My Morning Jacket. Quoting James, “Everything is revealed when you open your mind to its secrets . . . [The album makes] your mind bleed . . . blurring the lines of what you thought you knew before was possible with music. It is one of those start to finish classics. And yes, damn near everything is here: Soul. Rock. Sweeping strings. Blasting horns. Full orchestral arrangements. Bare stripped down moments. Humor. Sadness. Funk . . . The recording is so God-damned 3D. It’s black. It’s white. It is universal. It is timeless. It is LOVE.”

Black Moses
Black Moses, the original LP cover of which unfolded in the shape of a cross three feet wide and four feet tall, "is a wondrously crafted, intense evocation of the vagaries of love gone bad," in the words of Stax historian Rob Bowman. Hayes used songs popularized by such artists as the Jackson 5, the Carpenters, Toussaint McCall, Little Johnny Taylor, Jerry Butler, the Whispers, Ray Price, and Dionne Warwick, along with his own highly erotic "Good Love," to express the heartbreak he was feeling about the breakup of his own marriage. "Isaac's ability to take other people's material and make it so deeply personal," Bowman observed, "is nothing short of brilliant."

Shaft
Shaft is Isaac Hayes's crowning achievement. Besides being one of the most successful soundtrack albums of all time--spending over a year on Billboard's pop album chart, which it also topped--it opened the door for a number of other r&b artists, including Curtis Mayfield, Marvin Gaye, and Norman Whitfield, to write for motion pictures. Besides such memorable tunes as "Ellie's Love Theme," "Soulville," the Wes Montgomery inspired "Cafe Regio's," and the nearly 20-minute funk opus "Do Your Thing," the double-disc album includes the classic "Theme from Shaft," itself a No. 1 pop hit. The song earned Hayes an Oscar for "Best Song," while the album won him a Grammy for "Best Original Score Written for a Motion Picture."

DISC ONE
1. Walk On By 12:03
2. Hyperbolicsyllablecsesquedalymistic 9:39
3. One Woman 5:11
4. By The Time I Get To Phoenix 18:42
5. Walk On By 4:27
6. By The Time I Get To Phoenix 6:49

DISC TWO
1. Never Can Say Goodbye 5:10
2. (They Long To Be) Close To You 9:06
3. Nothing Takes The Place Of You 5:32
4. Man's Temptation 5:02
5. Part Time Love 8:35
6. Medley: Ike's Rap IV/A Brand New Me 9:44
7. Going In Circles 7:02

DISC THREE
1. Never Gonna Give You Up 5:51
2. Medley: Ike's Rap II/Help Me Love 7:34
3. Need To Belong To Someone 5:17
4. Good Love 5:16
5. Medley: Ike's Rap III/Your Love Is So Doggone Good 9:18
6. For The Good Times 5:21
7. I'll Never Fall In Love Again 4:56

DISC FOUR
1. Theme From Shaft 4:40
2. Bumpy's Lament 1:52
3. Walk From Regio's 2:24
4. Ellie's Love Theme 3:18
5. Shaft's Cab Ride 1:11
6. Café Regio's 6:10
7. Early Sunday Morning 3:50
8. Be Yourself 4:31
9. A Friend's Place 3:24
10. Soulsville 3:49
11. No Name Bar 6:11
12. Bumpy's Blues 4:04
13. Shaft Strikes Again 3:05
14. Do Your Thing 19:28
15. The End Theme 1:59
16. Theme From Shaft 4:45

THE SOUND OF JAZZ FM 2011

We always look forward to compilations from Jazz FM, and this newest release is no doubt one of the best to come out. The brand new 2-CD set features artists of the calibre of Roy Ayers, Flora Purim, Ramsey Lewis, Gretchen Parlato, Avery Sunshine, Bobby Womack, Patrice Rushen, Luther Vandross and The Isley Brothers. Here is the full track listing.

The Sound Of Jazz FM 2011
CD1
I Got Sunshine - Avery Sunshine
RIP With John Coltrane - Patchworks
Golden Lady - Reel People
Can't Hide Love - Sabrina Malheiros
Double Face feat. Al Jarreau - Deodato
Watch Me Fly - Down To The Bone
All That I Can Say - Gretchen Parlato
Use Me - George Benson
Let's Make Love Tonight - The Isley Brothers
Girlfriendz - Driza Bone
Take Five - Sachal Studios Orchestra
Pastime Paradise - Ray Barretto
N.E. Wind - Kirk Whalum
1960 What? - Gregory Porter
Greatest Lover (Hot Bass Mix) – Heston

CD 2
Still In Love - Shuya Okino
It' Your World - Gil Scott-Heron
Vera Cruz (Empty Faces) - Flora Purim
No Other One But You - Donny Hathaway
Arrival - Patrice Rushen
Feel Like Making Love - Bobby Lyle
Throw It Away - Maydie Myles
Caught Up In The Middle - Bobby Womack
Found My Light - Imaani
Easier Said Than Done - Rahsaan Patterson
Has It Come To This? - Amy Keys
Take You Out - Luther Vandross
Virgo - Roy Ayers
Unicorn - Dizzy Gillespie
You'll Never Find Another Love Like Mine - Stanley Turrentine

MICHAEL FEINSTEIN – THE SINATRA PROJECT, VOLUME II: THE GOOD LIFE

When the foremost custodian of the Great American Songbook pays tribute to the music’s greatest practitioner, the results are guaranteed to be both dynamic and original. Such was indeed the case in 2008 when Michael Feinstein crafted The Sinatra Project, which marked his ninth Concord release and was nominated for a Grammy. Feinstein, long recognized as not only one of the world’s finest vocal and piano stylists but also for his tireless efforts to preserve, protect and promote the songs and songwriters that shaped the golden age of American music, wanted to pay tribute to the rich Sinatra legacy, but was determined to do so in a way that was fresh and unique.

With The Sinatra Project, Feinstein explains, he “decided to focus on the aspects of Sinatra’s art that people don’t always think about; specifically, his particular taste and style in choosing music and how he pervaded it, paying close attention to the arrangements and orchestrations, which were important elements in making Sinatra great.” Feinstein took songs Sinatra had sung—some instantly familiar others relatively obscure—and reinterpreted them in “different ways that still reflected his style and approach. It was a way into the material that allowed me honor him without copying; to bring the essence of him through without being an imitator.”

Now, with The Sinatra Project, Volume II: The Good Life, Feinstein has found another inventive way in. “The second volume is really about Sinatra and his friends,” says Feinstein. “It’s about the people he influenced and who influenced him. The focus is more on the 1960s. The album includes a few songs Sinatra never sang, which was intentional because I wanted to encapsulate that era and show that, though he was still very important, music and styles were changing. It was the ushering in of a new sensibility, and yet the 1960s was still a time when rich, standards-type songs like ‘For Once In My Life’ were still being created alongside newer pop elements like rock and roll.”

Close to a dozen superstars, many of whom Sinatra counted as close friends and also deeply admired as artists, influenced Feinstein’s song selections and his stylistic choices, including Dean Martin, Sammy Davis Jr., Peggy Lee, Rosemary Clooney, Ray Charles, Tony Bennett, Ann-Margret, Duke Ellington, Fred Astaire, Nancy Wilson and Antonio Carlos Jobim. Again Feinstein combines familiar and comparatively obscure material, creating a 12-track playlist that extends from such signature Sinatra tunes as “Luck Be a Lady” and “The Lady Is a Tramp” to the extremely rare “C’est Comme Ça,” co-written by Ellington and Marshall Barer for the 1966 Broadway flop Pousse Café (a musical adaptation of the 1930 Joseph von Sternberg film The Blue Angel, starring Marlene Dietrich).

Throughout the closing decades of Sinatra’s career, Feinstein himself became friendly with the legendary singer. Their first meeting was in the late 1970s at Chasen’s, one of Sinatra’s favorite Hollywood watering holes. Sinatra was throwing a birthday party for his wife, Barbara, and Feinstein was booked to play piano. “Frank invited me to join him after he heard me play,” Feinstein recalls. “I was very excited by that. I wasn’t interested in all the personal aspects of his life, nor did I know much about them. I was interested in the art, and because I got to meet him in such a casual situation he was at his most relaxed, very talkative and freewheeling. He talked about his years at MGM and [producer] Arthur Freed and songwriters. It was really fun. There was no sign of any temperament. He was just great to me.”

Prior to Sinatra’s death in 1998, their paths would frequently cross. “When Liza [Minnelli] was touring with him, I’d often go backstage to see her and would get to spend time with him, too. And I was at his house for several dinners. One time, Barbara asked me if I wanted to perform, but I declined. In addition to Sinatra, the guests that night included Dinah Shore and lots of other big-name singers and music executives, and I was just too nervous. I wish I had, though. It would have been great to sing for all those people, but I felt too overwhelmed!”

When, three years ago, Feinstein conceived The Sinatra Project, he partnered with producer/arranger Bill Elliott to help realize his concept. Together with Elliott, Feinstein was able to recreate the charts he envisioned in the style of such classic Sinatra arrangers as Nelson Riddle and Billy May. Elliott returns for The Sinatra Project, Volume II: The Good Life, again demonstrating his alchemic ability to fulfill Feinstein’s vision. “Bill Elliot is one of the most talented musicians working today,” says Feinstein. “I was recently at a party where somebody said, ‘Bill Elliott is like a secret weapon; he’s this unsung hero,’ and I said, ‘I wouldn’t call him unsung. He’s doing arrangements for the Boston Pops and L.A. Philharmonic and for New York Pops at Carnegie Hall, he did the arrangements for the current Broadway production of Anything Goes and he’s doing them for the forthcoming musical Robin and the Seven Hoods!’ He is becoming more and more in-demand. That’s because Bill’s background is such that he can orchestrate in any style. He’s very seriously schooled in all pop music styles. He knows how to create an orchestration to sound like a 1930 band or a 1935 band, between which there is a huge difference; or he can [replicate] the 1920s, ’40s, ’50s or rock ‘n’ roll. And Bill can do it so it sounds organic, which is fiendishly difficult. I hear so many recordings that want to sound retro and they always sound ersatz to me. Bill, as the result of years of work, can emulate any style and make it fresh. I can’t think of anyone else who can do what he can do.”

In addition to producing the album, working with Feinstein on all the arrangements and orchestrations and conducting the 30-member orchestra, Elliott plays piano on eight of the dozen tracks. The album’s core group also includes guitarist Jim Fox, bassist Kirk Smith, drummer Albie Berk and percussionist Bernie Dresel. Asked if it is difficult to work with another pianist when he is so accustomed to accompanying himself, Feinstein responds, “Not at all… It is fun to work with someone else because it spurs me to sing the songs a little differently.” Feinstein does, however, accompany himself on four tracks, two—“The Good Life” and “Sway”—with the full orchestra and two—“C’est Comme Ça” and “I’ll Be Around”—with just Smith and violinist Sid Page.

As for the album’s subtitle, Feinstein says he chose “The Good Life” because “it reflects the ’60s, when Sinatra had gotten to a point in his life where he became iconic in a way that was different from the ’50s. He really came into his own. And it was also a good time. “The Good Life” is a song from the mid-’60s and people were in many ways, if perhaps illusionary, living a good life.”

Michael Feinstein - The Sinatra Project, Volume II: The Good Life
1. Thirteen Women
2. Hallelujah I Love Her So
3. C'Est Comme Ca
4. Is You Is Or Is You Ain't My Baby?
5. Sway
6. Luck Be a Lady / All I Need is the Girl
7. I'll Be Around
8. Way You Look Tonight
9. Lady Is A Tramp
10. For Once In My Life
11. Good Life
12. Once In a Lifetime

Personnel: Michael Feinstein (vocals); Jim Fox (guitar); John Wittenberg, Carolyn Osborn, Erika Walczak, Sharon Jackson , Kathleen Robertson, Gina Kronstadt, Judy Yoo, Julie Rogers, Peter Kent, Susan Chatman (violin); Pam Jacobson, Andrew Duckles (viola); Rudy Stein, Cecilia Tsan (cello); Jay Mason, Jeff Driskell (flute, clarinet, alto saxophone); Dan Higgins (flute, alto saxophone); Sal Lozano (clarinet, alto saxophone); John Mitchell (bass clarinet, baritone saxophone); Willie Murillo, Darrel Gardner, Don Clarke, Wayne Bergeron (trumpet); Joe Meyer , Brian O'Connor (French horn); Charlie Morillas, Alex Iles, Alan Kaplan, Craig Gosnell (trombone); Bill Elliott (piano); Albie Berk (drums); Bernie Dresel (percussion).

Audio Mixer: Mark Linett.
Recording information: Ocean Way Recording Studio B, Hollywood, CA.
Photographer: Gilles Toucas.
Arranger: Bill Elliott.

JEAN WELLS – SOUL ON SOUL (DELUXE EDITION)

Jean Wells’ story is not an extraordinary one in the world of soul, although her voice certainly was. Her biggest hit ‘Have A Little Mercy’ from 1967 was a glorious slice of deep soul, a plea to a lover, whom she is addicted to, but who doesn’t seem to notice. Her gospel-trained voice perfectly encapsulating those feelings, whilst a stark arrangement dominated by an ethereal organ and dramatic horn stabs heightens the unbearable effect this man is having on Jean’s life. Yet at the time this record only reached number 25 in the R&B charts, just another bit of genius amongst many, thrown out by the black American music industry at one of its most creative and profligate periods.

Born in West Palm Beach Florida in 1942, Jean Wells was brought up in Belle Glade near the state’s Lake Okeechobee. As a youngster she sang in gospel choirs, and taught herself piano. Unlike some her family didn’t object to secular music and in her teens she formed a girl group with friends whilst she was at High School. With the musical desire firmly in her bones at the age of 17 she left home and headed for Philadelphia, a city that would become her musical base throughout her career.

Philly at the time was at the centre of the American music industry due to it being the place where Dick Clark’s American Bandstand was filmed. This pop TV programme was nationally syndicated and could break records to the important post rock and roll teen audience. As such a slew of local record labels led by Cameo had grown up around the town. Jean went looking for a record deal and soon found herself recording for the tiny Quaker Town label. Her first single – ‘Song Of The Bells’ – was successful enough locally that the label released two further releases ‘If He’s A Good Man’ and ‘I Know He Loves Me’, neither of which managed to build on the success, and they remained unknown outside of the local area.

Jean went back home to Florida, but the desire to be part of the music industry remained and she returned to Philly to record a single record, ‘Don’t Come Running Back To Me’ b/w ‘Little Boots’ for ABC-Paramount, before heading back south once more. Yet she was back again in 1966 and it was at this point that she managed to get traction in the industry. Meeting up with producer and A&R man Clyde Otis, who decided to sign her to his production company Argon. Otis had had great success at Mercury Records where he had produced Brook Benton, Dinah Washington and Sarah Vaughan in the late 50s and Clyde McPhatter who he signed to the label in 1960. Since striking out on his own he had produced some of Aretha Franklin’s finest pre-Atlantic recordings for Columbia including the wonderful ‘One Step At A Time’ which has recently been revived by soul DJs and producers of re-edits alike.

With Jean he saw a singer who could be every bit as good as Aretha or Dinah Washington, similar big sounding singers. His first single with Jean is perhaps the most obscure. The glorious deep soul ballad ‘If You Ever Loved Somebody’ was coupled with ‘Hello Baby- Goodbye Too’ and released on Juggy Murray’s Sue Records subsidiary Eastern. It failed to trouble any charts, but it did put down a calling card for Jean. It was quite clear that this was a singer who could cut high quality material that could match the best of what was coming out at the time.

As Jean worked on new material with Clyde, her producer was sorting out a new label for her to appear on, following the demise of Juggy Murray’s labels late in 1966. He signed a deal with Nate McCalla’s Calla Records. McCalla was a well known face around 1960s New York, and was closely associated with the notorious Morris Levy of Roulette Records, and it fact had his office in Roulette’s building. Stories abound about this colourful figure, who was a decorated hero of the Korean War, but he was a tough guy and his life was prematurely ended when he was murdered in Florida in 1980. His label is a gem, with brilliant records by the likes of Bettye Lavette, Little Jerry Williams (later known as Swamp Dogg) and many others through to its close in 1977. The label always had close ties to Philadelphia, and it is perhaps this link that brought him to Jean.

Her first single on the label was the self-written ‘After Loving You’ a storming club soul cut with a relentless beat. It was coupled with ‘Puttin’ The Best On The Outside’ which sounded as if it could have been written several years earlier. It was a successful start to her time at the label charting at number 31 in Billboard’s R&B chart. The follow up ‘I Feel Good’ was another dancer that peaked at number 33. It was the next release that was the big one and ‘Have A Little Mercy’ burst out of the speakers over the Christmas period of 1967 heading to a peak of number 25. On the flip was a glorious northern soul style dancer ‘With My Love And What You Got’, complete with a vibes filled rhythm section.

Otis took the logical step of following ‘Mercy’ with another deep soul ballad his own ‘Sit Down and Cry’. Once more Jean reaches far inside herself and drags every ounce of emotion from the song in a jaw-dropping performance. It was perhaps a little too intense to be popular, and the single became her first on Calla not to make the R&B charts. She returned to the charts with her very next single, though it would be for the last time. This time the lead number ‘Try Me & See’ was firmly uptempo and is firmly written to sound like Aretha Franklin’s then current hits such as ‘Respect’ or ‘See Saw’. It reached number 45 backed with ‘Best Thing For You Baby’.

At this time Calla also tried to capitalise on her success by releasing the album World, Here Come Jean Wells in 1968, it sank without a trace and is now a sought after collectors item. Jean released three more singles on Calla, each one either trying to replicate the success of her previous work or the then current sounds in the pop charts. The best of these was her December 1968 ‘What Have We Got To Lose’ a swaying soul dancer written by Jean, and which in recent years has seen action in the rare soul clubs. Despite Calla losing interest after the 1969 single ‘Our Sweet Love Turned Bitter’ b/w Keep Your Mouth Shut (and Your Eyes Open)’ Clyde Otis kept the faith, and Jean’s next single appeared on the Philadelphia independent Volare recycling ‘Keep Your Mouth Shut’ with the slow funk of ‘I Couldn’t Love You More Than I Do Now’.

Jerry ‘Swamp Dogg’ Williams Canyon label was where her next single turned up. This was the stridently funky ‘He Ain’t Doing Bad’ and the wah wah laden ‘Somebody’s Been Loving You’. These two tracks were recorded in Philadelphia by Earl Young, Norman Harris and Ron Baker. The trio would become the basis of the 1970s Philadelphia Sound and were on hundreds of classic disco and soul recording as well as being the men behind the legendary disco group the Tramps. Clyde Otis employed them for what was supposedly lined up to be an album project on Jean, but only 5 tracks were recorded. As well as the two that appeared on the single, there is the atmospheric ‘Roll Up Your Sleeves, Come Out Lovin’ which features a very advanced - for the time - synthesiser led backing track, and ‘Take Time To Make Time’ which to my mind features one of Jean’s finest vocal parts. The final number ‘Keep On Doing It’ takes us back to the world of funk, but with a very Philly swing to the rhythm section. It appeared briefly as a single on Law-Ton in 1972

These were to be the final recordings that Jean made in this part of her career. She left the industry and according to Clyde Otis she went into the gospel field. She made two slight returns to secular music. In 1979 she made the disco/ boogie single ‘I Just Can’t Stop Dancing’ for the Philadelphia based TEC label. Two years later she was back again, still in the city that she had so often called home, this time recording the disco-fied album Number One for Sunshine Recordings.

After this Jean disappeared from sight. Probably back into the world of gospel, she left us with a fantastic recorded legacy, of which her recordings for Clyde Otis, which are gathered here, are the choicest cuts.

CD Tracklist:
1. Have A Little Mercy
2. I'll Drown In My Own Tears
3. After Loving You
4. Sit Down And Cry
5. Ease Away A Little Bit At A Time
6. Our Sweet Love Turned Bitter
7. Somebody's Been Loving You (But It Ain't Been Me)
8. Keep Your Mouth Shut And Your Eyes Open
9. If You've Ever Loved Someone
10. Broomstick Horse Cowboy
11. I Couldn't Love You (More Than I Do Now)
12. I Feel Good
13. With My Love And What You've Got (We Could Turn This World Around)
14. Keep On Doin' It
15. Take Time To Make Time For Me
16. Try Me And See
17. Roll Up Your Sleeves, Come Out Lovin' (Winner Takes All)
18. What Have I Got To Lose
19. Puttin' The Best On The Outside
20. He Ain't Doing Bad
21. Hello Baby, Goodbye Too

Previously unreleased tracks:
22. Daddy Reconsider
23. I Want To Live
24. Ordinary Woman

SEAL – SOUL 2

Grammy-winning vocalist and songwriter Seal will release his eighth studio album, Soul 2 in the U.S. on January 31st, 2012, on Warner Bros. Records. The first single, "Let's Stay Together," is already impacting radio and will be available digitally November 1. The collection finds Seal joining forces once again with legendary producer Trevor Horn (Seal, Seal II, Human Being) who shares production duties on the album with Soul producer David Foster (Soul, Commitment). This time Seal brings his silky, inimitable voice to a lush collection of romantic soul classics primarily from the '70s, including those by Marvin Gaye, Bill Withers, Al Green, and Teddy Pendergrass, among others.

Seal and Horn teamed up in both London and Los Angeles to record "Lean on Me" (Bill Withers), "Love Here Don't Live Here Anymore" (Rose Royce), "Love T.K.O." (Teddy Pendergrass), "Oh Girl" (The Chi-Lites), "Ooh Baby Baby" (The Miracles), "What's Goin' On" (Marvin Gaye), and "Wishing On A Star" (Rose Royce). Seal enlisted Foster and Jochem van der Saag to produce "Back Stabbers" (The O'Jays), "I'll Be Around" (The Spinners), "Let's Stay Together" (Al Green), and "Love Won't Let Me Wait" (The Delfonics), all of which were recorded in Los Angeles.

"In my twenty years on a journey in the music industry, two things remain constants, the voice and more importantly, the song. I continue to make music because of the chance that this day could indeed be the day I write another great song or have the opportunity to sing one. The songs on Soul 2 are a natural evolution in the arc of soul music from the songs on the first Soul album -- and they are all-time classics," said Seal. "One more very important reason why I still make music is the 'gift of collaboration.' I've been fortunate to work with two such industry greats as Trevor Horn and David Foster on this album and they continue to inspire me each and every day." Horn says, "Working with Seal is like making music again...even I'd buy this record!"

"While still reeling from the success of Soul, it was even more exciting to have the opportunity to record more of some of the greatest songs ever written," Foster says. "I am positive fans will not be disappointed in our selection and again, Seal's unique, raw, and, yes, sexy approach to these great classics. I am delighted to share production duties, along with Jochem van der Saag, with one of my all-time favorite record producers, Trevor Horn. His musical history with Seal is rich and runs very deep. Together I believe they made some of the greatest records ever, by anyone. They led, they didn't follow."

Released in November 2008, Soul was a hit around the world, earning gold certifications in Australia, Italy, and Sweden, platinum certifications in Canada, Switzerland, and the U.K., and double-platinum awards in Belgium and on the European Album chart. Soul was a Diamond-seller in France where it peaked at No. 1 on the album chart and remained there for 13 consecutive weeks.

Over the course of a remarkable career that spans more than two decades, Seal has won four Grammy Awards and sold more than 20 million albums worldwide, enjoying success across numerous genres of music. His emotional, romantic love songs, such as "Prayer For the Dying," the Grammy Award-winning "Kiss From A Rose," and "Don't Cry" (all from 1994's Seal II), and "Love's Divine" (from 2003's Seal IV), delighted fans and earned him critical acclaim. He has also seen great success in the dance/pop music world beginning with his roots in Britain's house music/rave scene with his debut 1991 album and returning to those roots with 2007's dancefloor-friendly System. In September 2010, Seal released his seventh studio album Commitment, which peaked at No. 11 on the U.K. chart giving Seal his fifth Top 20 album in his native Britain.

The track-listing for Soul 2 is as follows:
"Wishing On A Star"
"Love T.K.O."
"Ooh Baby Baby"
"Let's Stay Together"
"What's Goin' On"
"Love Don't Live Here Anymore"
"Back Stabbers"
"I'll Be Around"
"Love Won't Let Me Wait"
"Lean On Me"
"Oh Girl"

ADELE - LIVE AT THE ROYAL ALBERT HALL

Tuesday, November 29th sees the release of Adele's Live At The Royal Albert Hall concert film. It has been an incredible year for Adele, starting with her #1 album "21," her #1 single "Someone Like You," the global smash "Rolling In The Deep" and her spellbinding live appearance on The Brits. Her album "21" has become the biggest selling album in the world this year -12 million copies sold and counting - and "21" and "19" remain the UK's 1st and 2nd highest selling albums so far. She has received rave reviews for her live shows and Live At The Royal Albert Hall, recorded at the height of this amazing year, showcases exactly why Adele has become one of the most sought after live performers in the world. Live At The Royal Albert Hall will be available on DVD and Blu Ray and features the full 90 minute performance, plus behind the scenes footage shot throughout that day. The package also contains an exclusive live CD of the entire show. This is the first time fans will be able to hear all of Adele's hits and best loved songs on one CD plus her stunning covers of Bonnie Raitt's "I Can't Make You Love Me" and The Steeldrivers "If It Hadn't Been For Love."

The Tracklisting is as follows:
Hometown Glory
I'll Be Waiting
Don't You Remember
Turning Tables
Set Fire To The Rain
If It Hadn't Been For Love
My Same
Take It All
Rumour Has It
Right As Rain
One & Only
Lovesong
Chasing Pavements
I Can't Make You Love Me

Make You Feel My Love

Someone Like You

Rolling In The Deep

http://www.adele.tv/

http://www.columbiarecords.com/

THE PUPPINI SISTERS - HOLLYWOOD

The glamour and lights of Hollywood's golden age are celebrated with The Puppini Sisters' new album, set for release on November 7 via Verve. Hollywood is a gloriously evocative record that pays homage to the music of the silver screen in The Puppini Sisters' inimitably stylish manner that has been dazzling audiences worldwide since the release of their debut album, 2006's Betcha Bottom Dollar. Known for combining refreshingly masterful musicianship with effortless charm and a style at the vanguard of the burgeoning retro- burlesque revival, The Puppini Sisters have teamed up with Mad Men designer Janie Bryant, who has joined the trio as the Creative Director. The Puppini Sisters will be launching their U.S. tour this February (dates below).

The Puppini Sisters – real names Stephanie O'Brien, Marcella Puppini and Kate Mullins – have always had a fascination with the idols and history of early Hollywood, but the rearrangements and vivacity that the classically trained performers have brought to the album ensures each classic number is being heard here as if for the very first time. For example, "Diamonds Are A Girl's Best Friend" – immortalized by Marilyn Monroe in Gentlemen Prefer Blondes – is musically recast as a sparky, upbeat number but is sung in a minor key to give it a more subversive and sinister nature. Meanwhile, the classic, chirpy "Good Morning" becomes a cheeky, stiff-upper-lip wake-up call.

That ability to renew and rejuvenate each song, effortlessly harmonizing vocal lines while staying true to the classic Tinseltown aesthetic, is evident throughout Hollywood, which was recorded in the old-fashioned way with the three ladies all standing round one microphone. The album takes in a whole range of dynamics, from the tongue-twisting "Moi Je Joue" and the high-energy upswing of "I Got Rhythm" – written by the Gershwin brothers – to a delicately fragile take on "Moon River" and Frank Sinatra's memorable "September Song." On each song, the sweetly charming vocal harmonies of the Puppinis bring new life to songs that have existed in the public consciousness for over half a century.

Introducing this richly arranged set of songs is the title track, penned by the trio themselves. Over a rumbling double bass and vibrant horns, "Hollywood" could quite easily fit into any film from cinema's Technicolor beginnings. A song about "the pursuit of getting your name in lights," "Hollywood" is a gateway into the deliriously exciting musical world The Puppini Sisters are exploring, yet is quintessentially the sound of the group themselves. The links with the Hollywood dream don't end with the music, as The Puppini Sisters have been feeling the bright lights of attention on them more and more over the past few years. The ladies were personally handpicked by Michael Buble to appear on two songs on his upcoming Christmas album – including the first single – while they will also perform with him at his upcoming ITV special in the U.K.

Their close harmonies and chic image have impressed audiences from their start. After viewing the French film Belleville Rendez-Vous, Marcella was inspired to form an act with fellow Trinity College students Kate and Stephanie that would marry a timeless sense of style with effortless charm and refreshingly masterful musicianship. Starting out in 2004 with a dedicated following before they were even signed, The Puppini Sisters were at the vanguard of the growing burlesque era revival. Their second album, 2007's The Rise & Fall Of Ruby Woo refined their pop styling and asserted their position on the international stage, becoming their second Top 5 album on the U.S. Jazz Charts. With TV appearances and tours worldwide, the group soon developed a large fan base throughout Europe and in North America. Last year saw the release of Christmas With The Puppinis to coincide with their annual seasonal shows, which have become a highlight of the festive calendar worldwide.

As Stephanie notes, The Puppini Sisters' take on life is that "Whenever we have a strong idea, we go for it" – this has extended to all parts of their fabulous career to date and has led to an album that not only spectacularly evokes a bygone era but also distils the Puppini ethos perfectly. Marcella adds "From the time we first started rehearsing in my kitchen to this day, we have always been guided by a desire to make music that makes us happy. That's our biggest appeal." Kate agrees as well, "We make music to make you smile and tap your feet. That's what this genre was always about and that's why we have so much fun making it our own." The Puppini Sisters are the living embodiment of 1940s glamour, and Hollywood will take the listener right back to a more alluring time, where stars were stars and dreams are lived.

The Puppini Sisters U.S. tour in 2012:
2/22/12     New York, NY @ B.B. King Blues Club
2/23/12     Alexandria, VA @ The Birchmere Music hall
2/24/12     Durham, NC @ Carolina Theatre of Durham
2/26/12     Charlotte, NC @ McGlohon Theatre
2/29/12     Naples, FL @ Philharmonic Center for the Arts

Hollywood Tracklisting:
1.     Hollywood
2.     Diamonds Are A Girl's Best Friend
3.     I Got Rhythm
4.     Moi Je Joue
5.     True Love
6.     Good Morning
7.     Get Happy
8.     Moon River
9.     I Feel Pretty
10.   September Song
11.   Parle Plus Bas

ETHER PHILLIPS – PERFORMANCE (REMASTERED)

Originally released in 1974, Performance is the fourth of seven albums that vocalist Esther Phillips recorded for Kudu, an offshoot of Creed Taylor's CTI label. Arranged and conducted by Pee Wee Ellis with assistance from Eugene McDaniels and Taylor, the session assembles a celebrated choice of soul, fusion, and mainstream jazz musicians including, Bob James, Richard Tee, Hubert Laws, Bernard Purdie, Pepper Adams, and Michael Brecker. Not a live album – as you might think from the title – but a tight batch of tunes that shows the full funk and soul talents of the legendary Esther Phillips. The album's got a nicely dark undercurrent at times. Backings are penned by Pee Wee Ellis and Gary King – and players include Bob James and Richard Tee on keyboards, Hubert Laws on flute, and Bernard Purdie and Steve Gadd on drums – the latter of whom provides a sublime beat on the album's standout funky number "Disposable Society" – one of those great little groovers that never did anything for Esther at the time of its release, but which has really gotten rediscovered in recent years. Highlights among the eight songs include Dr. John's "Such a Night," the gospel-inspired "Living Alone (We're Going to Make It)," Isaac Hayes and David Porter's "Can't Trust Your Neighbor with Your Baby," "Doing Our Thing," "Living Alone", and "I Feel The Same".  While Performance has been remastered and retains the original album art, there are no bonus tracks.

Album Personnel: Esther Phillips (vocals); Charlie Brown (guitar); Manny Vardi (violin, viola); Paul Gershmann, Charles Libove, David Nadien, Matthew Raimondi, Max Ellen, Emanuel Green (violin); Al Brown, Harold Coletta (viola); Charles McCracken , George Ricci (cello); Hubert Laws (flute); Jerry Dodgion (alto saxophone); Pepper Adams (baritone saxophone); John Gatchell, Jon Faddis, Marvin Stamm (trumpet, flugelhorn); Urbie Green (trombone); Richard Wyands (piano); Richard Tee, Bob James (keyboards); Bernard Purdie (drums); Ralph MacDonald (percussion); Pee Wee Ellis (chimes). Photographer: William Cadge.

NICOLE HENRY – SET FOR THE SEASON: LIVE IN JAPAN

Hot on the heels of her critically-acclaimed Embraceable CD, song stylist Nicole Henry keeps the momentum rolling with a joyous jazz collection of holiday-themed classics that were recorded live at the Cotton Club in Tokyo. Set For The Season: Live In Japan, produced by Henry and Grammy nominee Matt Pierson (Kirk Whalum, Jane Monheit, Joshua Redman), will be released October 25th on Henry’s Banister Records. Backed by an astute trio comprised of Pete Wallace (piano), James McCoy (bass) and David Chiverton (drums, percussion), Henry harnesses the full range of her immense vocal gift on the enchanting disc of festive tunes.  From The Sound of Music, “My Favorite Things” is presented as an intricately arranged groovy waltz.  You can almost hear the peaceful sound of snow falling on the graceful “Christmas Time Is Here.”  Starting out playfully, “Rudolph the Red-Nosed Reindeer” evolves from a children’s standard into an infectiously toe-tapping, finger-popping swinger.  Henry, who the New York Times compared to a young Natalie Cole, would likely earn the seal of approval from Nat King Cole for her sterling rendition of “The Christmas Song (Chestnuts Roasting on an Open Fire).”  McCoy suavely duets with Henry on the cozy “Baby, It’s Cold Outside,” “Santa Claus Is Coming to Town” takes the form of a New Orleans-seasoned march, and Henry’s beatific voice delivers “O Holy Night” as a prayerful spiritual.  “I’ve Got My Love to Keep Me Warm” is a swinging showstopper on which Henry & Company go for broke.  Finally, while not a holiday tune, she closes the set with the bombastic boogie “I’d Rather Drink Muddy Water,” a present for the ardent admirers that made it a fan favorite at her concerts.

“Singing holiday music has always brought me so much joy, and being able to spread this joy around the world is a rare privilege,” said the Miami-based Henry, who hails from the suburbs of Philadelphia.  “I've performed in Japan several times, but the exciting week that we spent at the gorgeous Cotton Club in Tokyo was a delight to capture in this recording.  The band was swingin', the audience was incredibly receptive and everyone's spirits were high.  It truly is the season for sharing and giving joy generously from the heart, thus the perfect occasion to create a live musical holiday.” Meanwhile, Embraceable continues to garner rave reviews across the globe as Henry’s fourth album ascends Billboard’s jazz album chart.  The mesmerizing collection, featuring a world-class ensemble of noted musicians, concurrently appears in the top 20 on the jazz and smooth jazz radio charts.  Performance clips shot at Henry’s sold-out New York City shows at Dizzy’s Club Coca-Cola on the eve of the album’s August 23rd release provide a glimpse into the considerable talent, passion, and sophistication that the beautiful and captivating performer brings to the stage and to her recordings.

Nicole Henry - Set For The Season: Live In Japan
“My Favorite Things”
“Christmas Time Is Here”
“Rudolph the Red-Nosed Reindeer”
“The Christmas Song (Chestnuts Roasting on an Open Fire)”
“Baby, It’s Cold Outside”
“Santa Claus Is Coming To Town”
“O Holy Night”
“I’ve Got My Love to Keep Me Warm”
“I’d Rather Drink Muddy Water”

LORENZO TUCCI - TRANETY

Drummer Lorenzo Tucci is a familiar name for fans of both jazz and club jazz music through his work with Nicola Conte, High Five, Mario Biondi, LTC and Rosalia De Souza as well as albums he has released as leader. He is also one of the founding members of the High Five Quintet, considered by many as one of the best jazz ensembles of the last ten years. With the High Five Quintet, Tucci realeased six CDs: Split Kick (2010, Blue Note), Live For Fun: Live At The Blue Note Tokyo (2009) Five For Fun (2008, Blue Note), Jazz Desire (2004, Via Veneto Jazz) and Jazz for more ... (Via Veneto Jazz, 2002), in addition the group collaborated with singer Mario Biondi for the highly successfull Handful of Soul (2006, Schema Records). Tucci also collaborated with deejay and producer Nicola Conte, with whom he recorded Other Directions (2005, Blue Note Records), Spiritual (2008, Schema Records)), and The Modern Sound Of Nicola Conte (2009, Schema Records), as with Brazilian singer Rosalia De Souza, with whom he realized Modern Girl (2004), and most recently, Suddenly (2008, Schema Records). In 2007 he paid tribute to Thelonious Monk with Drumonk, where Tucci interestingly opted to go with trumpet, bass and drums and completely forgo any piano. This new album entitled Tranety features seven versions of Coltrane tunes plus three original compositions that all sit well together. The Tucci original Hope works as a superb transition between Afro Blue and Equinox, and this latter tune is followed by the Summertime-esque Solstice which flows along nicely before petering out into Wise One.

Lorenzo Tucci -Tranety1.Moment’s Notice (Coltrane)
2.Afro Blue (Coltrane)
3.Hope (Tucci)
4.Equinox (Coltrane)
5.Solstice (Tucci)
6.Wise One (Coltrane)
7.Ivre a Paris 3.30 (Filippin)
8.Lonnie’s Lament (Coltrane)
9.Cousin Mary (Coltrane)
10.After the Rain (Coltrane)

GREGORY ISAACS - THE AFRICAN MUSEUM & TAD'S COLLECTION VOL. II

Tad’s Record is once again partnering with Reggae icon Gregory Isaacs’ African Museum label for Gregory Issacs - The African Museum & Tad’s Collection Vol. II, marking the one year anniversary of Isaacs’ passing. Part proceeds from the album sales will be donated to the Gregory Isaacs Foundation, which was established by his widow June Isaacs earlier this year. Ms. Isaacs will also utilize the tribute album to launch a drug awareness campaign in memory of her husband, who battled drug addiction throughout his 42-year career.

Described by the New York Times as “the most exquisite vocalist in Reggae,” his smoothly haunting vocals and stirring lyrics about love, heart ache, and ghetto life garnered Isaacs – nicknamed the ‘Cool Ruler’ – international fame. Gregory Issacs - The African Museum & Tad’s Collection Vol. II is a two-disc collector’s item featuring over 40 singles from Isaacs’ illustrious catalogue including “My Number One,” “Front Door,” “Tune In,” and “Slavemaster” from the 1978 Jamaican cult classic film Rockers. Vol. II also includes an extended version of his 1982 international hit “Night Nurse.”

In 1973, Isaacs, along with Reggae singer Errol Dunkley, founded the African Museum Record label which produced his single “My Only Lover,” credited as being the first ‘lover’s rock’ styled Reggae single. “My Only Lover” is also included on Gregory Issacs - The African Museum & Tad’s Collection Vol. II. “Gregory Isaacs is one of Reggae’s greatest artists. In 2008, Tad’s partnered with African Museum for Gregory Isaacs - African Museum & Tad’s Collection Vol. I. Now that Gregory has joined the ancestors, we will see to it that his music lives on with Vol. II,” says Tad Dawkins, CEO and owner of Tad’s Record. “Gregory and I have a long musical history together, and I’m glad to honor him and celebrate his legacy.”

In memory of Isaacs, who died of lung cancer on October 25th, 2010, Tad’s and African Museum will donate a portion of the album’s sales to the Gregory Isaacs Foundation, founded on July 15, 2011, which would have been Isaacs’ 60th birthday. The foundation will support basic education and children’s charities in Jamaica. "The foundation will be offering assistance to the St. Barnabas Basic School in Fletcher's Land, the first school Gregory attended. We will be donating 2 toilets and a wash basin," says June Isaacs, adding that the foundation will also be "donating school supplies and maybe a computer to Black Harmony Basic School in St. Catherine, and clothes and groceries to the Walkers Place of Safety in Kingston, which were institutions that Gregory assisted in his lifetime."


In addition to foundation, Ms. Isaacs will utilize Gregory Issacs - The African Museum & Tad’s Collection Vol. II to launch an anti-drug campaign in the coming weeks, which will warn children of the dangers of illegal drugs. Gregory Isaacs’ career was shrouded by a crippling addiction to cocaine, which caused irreparable damage to his voice and led to over 20 arrests for drugs and drug-related crimes. "Drugs are a debasing weapon," Isaacs told The Telegraph in 2007. "It was the greatest college ever, but the most expensive school fee ever paid – the Cocaine High School.” “November is Drug Awareness Month in Jamaica, I am working on editing some audio statements from Gregory about his own drug abuse to use as a message to stay off drugs,” Ms. Isaacs says.

Gregory Issacs - The African Museum & Tad’s Collection Vol. II is available in stores and on all digital outlets, and part proceeds from the sale of the album will benefit the Gregory Isaacs Foundation. For more information, contact Tad’s Record (Miami) at 305-654-6130 or or Tad’s Record (Kingston) at 876-929-2563 or visit http://www.tadsrecord.com/.

JILL SCOTT’S “SO IN LOVE” REIGNS AT #1 FOR 18 WEEK RECORD ON URBAN AC RADIO

In a year of incredible firsts, including her first #1 album in the country, Grammy-winning singer, actress and poet Jill Scott has tied the record for the longest #1 record on Urban Adult Contemporary radio format in. At 18 weeks, the debut single -- "So In Love" featuring Anthony Hamilton off her critically acclaimed fifth studio album The Light Of The Sun - holds onto the eleven year title as the most played record of the year in the format with Maxwell's "Fortunate" (1999). Currently on the second leg of her widely successful Block Party Tour, Scott has also earned three 2011 Soul Train Award nominations for Album Of The Year, Best Female R&B Artist and Song Of The Year for "So In Love."

A busy 2011 for Jill, earlier this year she took The Jill Scott Experience to the 2011 BET Awards performing the scintillating album gem "Rolling Hills," as well as performances on "The Today Show," "Live! With Regis & Kelly," "The Tonight Show with Jay Leno," and "Live! With Jimmy Kimmel." Never one to slow down, later this year, Scott is set to perform at the prestigious 18th Annual Nobel Peace Prize Concert alongside Sugarland, Janelle Monae and David Gray, BET's Black Girls Rock alongside Mary J. Blige, as well as the legendary Soul Train Awards, which honors Gladys Knight and Earth, Wind & Fire. In December, the songstress will also perform a string of hits including her heart-wrenching "Hear My Call" on the 2011 Vh1 Divas special.

After gracing the cover of Billboard Magazine which named 2011 as "The Year Of Jill Scott ", Jill returned from a four year musical hiatus to release her widely anticipated album The Light Of The Sun which garnered rave reviews across every outlet from Entertainment Weekly who remarked, "she returns to R&B like she never left... it's a welcome flashback," to The New York Times who commented, "Ms. Scott's songs are proudly and forthrightly feminine, and they set out to persuade and motivate... It's a lesson her songs live up to." People Magazine listed the album in their "Critics' Choice" lauding that The Light of The Sun reflects that 2000 classic with its hip-hop swagger and spoken-word musings... Wow."

http://www.missjillscott.com/.

JOHNNY MATHIS – THE ULTIMATE COLLECTION

Johnny Mathis’ accomplishments are numerous and varied. He holds many records and has set many precedents in the music industry. His career began in 1956 under the wing of Columbia jazz producer George Avakian.  In 1958, two years after being signed by Columbia Records, Johnny's Greatest Hits was released. It began a "Greatest Hits" tradition copied by every record company since then. Johnny's Greatest Hits went on to become one of the most popular albums of all time and spent an unprecedented 490 continuous weeks (almost ten years) on the Billboard Top Albums Chart. This record has been noted in the Guinness Book of World Records. Mathis’ long recording career, which to date has produced some 73 charting albums and sales of 350 million records. 2006 marked Johnny's 50th anniversary as a recording star and was very busy for him. Johnny Mathis – Gold: A 50th Anniversary Celebration and A 50th Christmas Celebration were both released and PBS taped a special called "Wonderful, Wonderful". The PBS special was later released on DVD as "Johnny Mathis – Gold: A 50th Anniversary Celebration". 2006 also marked the year that he was honored with receiving the Society of Singers coveted Ella Award.

The Ultimate Collection was released in the U.K. on October 10, and it feature 23 tracks spanning the period of 1957 to 2010, and highlighted by two tracks from CHIC’s legendary “lost” production for Mathis, 1981’s I Love My Lady.  One of these, “Something to Sing About,” surfaced on last year’s The CHIC Organization box set from Warner Music France, while the other, the title song “I Love My Lady,” makes its first appearance anywhere on The Ultimate Collection. Sequenced non-chronologically, a full ten tracks on The Ultimate Collection are from the period between 1957 and 1959, two tracks come from the 1960’s, and seven from the 1970s.  The two CHIC productions are the only representative tracks from the 1980’s, and the 1990s and 2000’s are ignored completely with the exception of two tracks from last year’s
Let It Be Me: Mathis in Nashville.   

Meanwhile, Johnny Mathis will perform two rare Holiday concerts in the Bay Area this December. Mathis will perform A Johnny Mathis Christmas Friday, December 2 at the historic Paramount Theatre in Oakland, California and Friday December 23 at the Flint Center in Cupertino, California. The two rare holiday concerts will feature holiday classics and Johnny Mathis' greatest hits.

Johnny Mathis – The Ultimate Collection
1. Too Much, Too Little, Too Late (Duet with Deniece Williams)
2. Misty
3. The Twelfth of Never
4. Maria
5. Chances Are
6. A Certain Smile
7. It’s Not For Me to Say
8. Teacher, Teacher
9. My Love for You
10. The Best of Everything
11. Someone
12. You are Beautiful
13. What Will My Mary Say
14. Crazy
15. Love Me Tender
16. When Will I See You Again (Single Version)
17. I’m Stone in Love with You
18. You’re All I Need to Get By (Duet with Deniece Williams)
19. Gone, Gone, Gone
20. Something to Sing About
21. The First Time Ever (I Saw Your Face)
22. When A Child is Born
23. I Love My Lady

GERI ALLEN - A CHILD IS BORN

Despite its time-honored traditions and universally familiar iconography, Christmas remains a holiday celebrated by each family and even each individual in their own personal style. Pianist/composer Geri Allen offers her own interpretation with A Child Is Born, a collection of traditional and original Christmas music that is profound and exuberant, solemn and joyous, spiritual and intimate. Allen's third release for Motéma Music is a solo sequel to her critically acclaimed solo debut, 2010's Flying Toward the Sound. Where that release paid tribute to three of her creative inspirations - Herbie Hancock, McCoy Tyner, and Cecil Taylor - A Child Is Born honors equally meaningful but perhaps even more deeply entrenched influences: family and spirituality. She refers to the album as "a joyous Christmas celebration and remembrance of a childhood where love was always unconditional."

This holiday offering finds Allen at a particularly celebratory time of life. Her tandem 2010 releases on Motéma, the solo, Flying Toward the Sound, and the quartet, Timeline Live, have shown her to be at the top of her game, gaining unanimous acclaim internationally and jostling with each other for space on numerous year-end top ten lists. A 2008 Guggenheim Fellowship helped Allen facilitate her debut solo project on Motéma; and Timeline Live, which features the startlingly talented Maurice Chestnut on 'tap-percussion,' has been selling out houses world wide and garnered a career first for Allen: an NAACP Image Award nomination for Outstanding Jazz Album, alongside Herbie Hancock, Dee Dee Bridgewater, Wynton Marsalis, and Bobby McFerrin. National respect for Allen as a virtuosic, innovative performer, composer, and educator (she is currently an Associate Professor of Jazz and Contemporary Improvisation at the University of Michigan) is undeniable, as evidenced by two powerful recent honors of 2011.She was invited to perform in honor of the historic Dr. Martin Luther King Monument Unveiling this August in Washington D.C.

A Child Is Born is dedicated to Allen's family, in particular to her father, Mount Allen, Jr. and mother, Barbara Jean Allen. "I am privileged and blessed to have grown up as the child of Barbara Jean and Mount Vernell Allen, Jr.," she says. "I know God loved me because He gave them to my brother Mount and I. Memories of many loving Christmases with family remain as affirmations of the beauty of life and God's never-ending love. Today, I share these timeless melodies and personal remembrances with my own children." Allen is also sharing this intimate celebration of Christmas with her extended family, her audience. These melodies of the celebration resonate with a reverence and awe that has remained an essential element of her playing throughout her remarkable career.

"These beautiful songs are so much a part of our cultural memories of the Christmas season," Allen says, "so I wanted to honor each melody and evoke the feeling of 'the dance' as the foundation for every performance. The textures, harmonies and improvisations are fluid and very spontaneous." While she insists on each familiar melody expressing itself in a pure, direct fashion, her treatment marks each as uniquely expressive. The album begins with the abundantly joyful chamber-swing of "Angels We Have Heard on High," immediately followed by the hushed solemnity of "A Child Is Born," inspired by and dedicated to piano icon, Hank Jones. Allen has always felt a direct connection with Mr. Jones, both musically and through their connection to Pontiac, Michigan, where Jones, Allen, and Allen's mother were all born.

Allen excels at communicating the meaning of traditional carols through her evocative interpretations. "We Three Kings" illuminates the mystery and exoticism of the Magi's search, gradually growing in expectation through the sustained narrative of Allen's improvisations. "Little Drummer Boy" is a portrait of its title character through both the pianist's percussively insistent left hand and the innocent wonder of its melody, while "It Came Upon a Midnight Clear" is a vivid snow-covered landscape under bright moonlight. And the birth of Christ itself is rendered with the stark beauty of stained glass via a medley of "Away in a Manger," "What Child Is This?" and "Silent Night."

Of course, the traditions that Allen herself experienced growing up in Detroit, also find their way into her expression of the nativity. On both "Imagining Gena at Sunrise" and Imagining Gena at Sunset," she ventures as far afield as Ethiopia, to offer her rendition of the traditional melody that is sung during the Christmas season. She creates two striking reinterpretations of that melody on Fender Rhodes, Farfisa organ, and concert celeste. "I am very inspired by Ethiopian music and culture," Allen says, "and the joy of Christmas is alive in this melody."

Other travels also proved inspirational to this recording. Allen was invited to perform at the first Jerusalem Jazz Festival in 2006 and seized upon the opportunity to pray at the Western Wall, see the Dead Sea Scrolls, and visit Bethlehem. She recreates that experience on "Journey to Bethlehem," where the resonate spoken voice of Dr. Farah Griffin, along with Carolyn Brewer's beautiful singing, serve as affirmations of intention. "We're going to take this journey..." While in Jerusalem, Ms. Allen visited the Church of the Nativity, where she was deeply moved by the beauty of, "a fourteen-point silver star, beneath the altar in the Grotto of the Nativity, which marks the spot believed to be the birthplace of Jesus."

That visit led directly to Allen's setting of the text of Matthew 1:23 "GOD Is with Us," an original piece which captures the wondrous optimism of her religious convictions. This piece leads into an interpretation of "Amazing Grace" possessed of a tender gratitude - this hymn, although not a traditional Christmas song, fits perfectly within Allen's theme of gratitude and celebration.

Traditions from separate places and cultures also have a tendency to cross paths and meld together, a concept that Allen explores in gorgeous fashion on "Emmanuel I," one of two settings of the traditional plainsong melody "O Come, O Come Emmanuel." The haunting voices of the women of Gee's Bend, Alabama, a special community whose stunning quilts have been showcased in leading art museums around the country, are interwoven with the ancient chant, creating a richly soulful, and meditative experience.

"Let Us Break Bread Together," the communion hymn, is fitting as an invocation of a sacred place where so many families unite to renew bonds, relive old memories and create new ones. It's the perfect way to end this Christmas journey, followed only by a reprise of the reverential "Emmanuel" melody. "I extend my warmest wishes and expressions of gratitude to our family and to old and new friends and fans here at home and afar," Allen says in summation of her artist notes. "For the joy of Christmas is something we can all share."

Allen's long time friend and colleague, Reverend Dwight Andrews, pens the album's illuminating liner notes. Cover Artwork (etching on copper creation) by master printmaker, Kabuya Pamela Bowens. A portion of proceeds from A Child Is Born will be tithed to Bethany Church and the YWMCA of Newark who together provide invaluable services to people in need in the Newark Vicinity. Ms. Allen will perform a special Christmas Celebration at Bethany Church on December 17.

Upcoming Geri Allen Concerts:
November 11 - The Kennedy Center, Washington D.C.
November 24 - December 7 - TIMELINE European Tour, Various Cities
December 9 – 11, Scullers, Boston, MA - TRIO w/ Esperanza Spalding & Terri Lynn Carrington
December 17 - Bethany Church, Newark, NJ
December 18 – NJPAC, Newark, NJ  
January 10 - 15, 2012, Village Vanguard, New York, NY - TRIO w/Esperanza Spalding & Terri Lynn

JAMES BROWN – THE SINGLES VOLUME ELEVEN: 1979-1981

The Singles Vol. Eleven: 1979-1981 closes a chapter on a successful in-depth series on one of the towering figures in popular music. Through the previous 10 volumes, Hip-oSelect.com has documented the many classic—and some not-so memorable—singles issued by Mr. Dynamite, the Amazing Mr. Please Please Please Himself, the Hardest Working Man In Show Business, the Godfather Of Soul. From “Please Please Please” to “Try Me,” “I Got You (I Feel Good)” to “Cold Sweat,” “The Payback” to “It’s Too Funky In Here,” and all of the B-sides and rare cuts in between, the series now delivers on its promise: every single issued by James Brown from 1956-1981, in a run of meticulously presented 2-CD sets. On The Singles Volume Eleven: 1979-1981, the end of Brown’s tenure on Polydor Records is detailed. While none of the material had the chart impact of “It’s Too Funky in Here,” the big hit from the last volume, there’s some interesting material to be had here, including rare B-sides, material from a 1980 live album, and the international hit “Rapp Payback,” cut for the independent label T.K. Records.

Disc 1 of Vol. Eleven features 19 tracks from Brown at the end of his Polydor tenure and includes all of the 7-inch singles issued by Brown on Polydor that followed “It’s Too Funky In Here,” his chart return from 1979. Among them are “Let The Boogie Do The Rest,” a B-side that could have been a hit, while “Regrets” is a country-flavored ballad that JB turns autobiographical. JB also released a fiery live album, Hot On The One, during this period, and stomping stage versions of “Get Up Offa That Thing” and “It’s Too Funky” were issued as singles. Also included is “I Go Crazy,” a cover of a previous hit that was only issued as a single in the U.K.

As a bonus, Disc 2 features all of Brown’s Polydor 12″ single mixes, including lengthy versions of “Get Up Offa That Thing,” “It’s Too Funky in Here” and others for a total nine songs: rare 12-inch singles from the man who created the extended jam, including long versions of “Get Up Offa That Thing” and “Rapp Payback.” As with previous volumes, includes a thick booklet with liner notes from James Brown staffer Alan Leeds summarizing every track, an introductory essay and epilogue, a detailed recording timeline, rare photos, and reproductions of memorabilia.

Disc 1
1. Star Generation
2. Women Are Something Else
3. The Original Disco Man - Short Version
4. The Original Disco Man
5. Let The Boogie Do The Rest
6. Regrets
7. Stone Cold Drag
8. Let The Funk Flow
9. Sometimes That’s All There Is
10. Get Up Offa That Thing (Live)
11. It’s Too Funky In Here (Live)
12. Rapp Payback (Where Iz Moses)
13. Rapp Payback (Where Iz Moses) (Pt. II)
14. Stay With Me
15. Smokin’ & Drinkin’
16. Give That Bass Player Some Part I
17. Give That Bass Player Some Part II
18. I Go Crazy
19. World Cycle Inc.

Disc 2: The 12-Inch Singles
1. Get Up Offa That Thing/Release The Pressure
2. If You Don’t Give A Doggone About It (12-Inch Version)
3. Eyesight (12-Inch Version)
4. The Spank (12-Inch Version)
5. For Goodness Sakes, Look At Those Cakes (12-Inch Version)
6. It’s Too Funky In Here (12-Inch Version)
7. Star Generation (12-Inch Version)
8. Rapp Payback (Where Iz Moses) (12-Inch Version)
9. Give That Bass Player Some (12-Inch Version)

DJ CAM - SEVEN

With Seven, DJ Cam serves up his most personal album since the acclaimed Substances. Inspired as ever by the original jazz and hip-hop influences that helped him become one of the founders of the trip-hop scene back in 1995, this new album is also full of exciting new musical and visual influences. As a mainstay of the French Touch (he started his career in the 1990s together with Daft Punk, Air, Cassius, Bob Sinclar...), DJ Cam has released six albums, helmed a number of side projects and given countless performances all around the world, helping him to acquire global notoriety. His 2002 single Summer in Paris with Anggun sold over a million copies and remains an emblematic tune of the Parisian dolce vita. He is now based in Los Angeles, where his musical and visual projects can converge, including production and remixes (Michael Jackson, Serge Gainsbourg, Air, Miles Davis...), sound design (Louis Vuitton, Cartier, Sephora, Agnès b...), soundtracks for both TV (CSI: Miami...) and cinema (Gus Van Sant, Wayne Wang...).

Seven has touches of well-crafted pop and folk (Swim, with vocals by by Stateless’ Chris James and a video directed by Sonia Sieff, reminds one of Radiohead, one of the album’s major influences. And Chris James is also present on Ghost and Uncomfortable), hints of old school electronica (Dreamcatcher), and cinematic ambient tracks that invite you to dream (Seven, California Dreaming). For a feminine touch, DJ Cam adds the vocals of Inlove, a new signing on his Inflamable label, and Nicolette, long-time collaborator with Massive Attack, the legendary group that DJ Cam feels closer to now than ever before, and to whom he dedicates the album. The jazzy style kicks into high gear about a quarter of the way in on the track featuring vocals by Nicolette, but the majority of the album has a more haunting, hypnotic mood. Includes "California Dreamin'", "Swim", "Ghost" and "Uncomfortable" feat Chris James, "Dreamcatcher", "Love" (feat Nicolette), "Seven", "1988" feat Inlove, "Fountainbleau" and "A Loop".

Written in Paris and Los Angeles, Seven is an album whose enveloping, melancholic tone and wide-open soundscapes are supposed to help make your mind wander. The release of the album is the moment for DJ Cam – who admits to spending as much time in art galleries as he does listening to and composing music – to show us his talents as a photographer through the Landscape Architecture project, a series of mysterious landscapes where nature and architecture intermingle in a ghost-like world. An exhibition is planned, and the visuals will projected on a big screen during DJ Cam’s concerts, as revealed for the first time at the SXSW festival last March.