ROLANDO MATIAS - LIVE VOLUME ONE

Traditional and Latin jazz musicians have taken separate risks to develop unique experimental approaches. Traditional jazz musicians have spent decades building, destroying, and reconstructing the harmonic foundation of jazz. Latin jazz musicians have emphasized rhythmic diversity, exploring the connections between jazz and a variety of Caribbean and South American traditions. Paths often cross through the stylistic embellishment of jazz standards with fixed harmonic forms, and diverge between avant-garde and Latin music. Percussionist Rolando Matias and his Afro-Rican Ensemble bring all jazz roads together into an intriguing mixture of risk, experimentation and history on "Live" Volume One.


Several repertoire choices immediately set the band apart from many Latin jazz ensembles. Rahsaan Roland Kirk's "Volunteered Slavery stands the furthest outside of Latin jazz conventions. Matias opens the piece with spoken word, and then leaves bassist Roger Hines to freely define a swing feel behind trumpet player Mike Wade and pianist Baris Buyukyildirim. The full Latin rhythm section brings the song to an up-tempo finish. The veiled appearance of a two-chord dance song starts Pharaoh Sanders' "Thembi (Part 1), as tenor saxophonist Eddy Bayard plays the melody. Wade and Bayard push their solos outside the harmony while Buyukyildirim and Hines boldly eliminate the harmonic center. As the band transitions into the sparse texture of "Thembi (Part 2), Buyukyildirim freely explores the territory between traditional melodies, polytonality, and Tyner-like open voicings. Beyond the novelty of unusual song choices, the full commitment to the musical aesthetics creates a stimulating musical experience.

Matias and his group rhythmically reconstruct standards as well, elevating the traditional music with their inspired performances. Joe Henderson's "Mamacita inherits a salsa rhythm, while maintaining its original hard bop flare. Wade and Bayard have done their homework on this jazz era, and they deliver fiery solos full of blues flavor and bop shape. "Black Narcissus opens with Hines rhythmically bowing his bass over a Comparsa rhythm. As the rhythm section builds intensity, Bayard delivers the melody and then plays a strong and passionate solo. Buyukyildirim takes center stage in "Tico Tico, a Bomba with traditional melodic and harmonic structures. After locking the melody into the drums, Buyukyildirim completely explores the changes, alternating between tense rhythmic patterns and flowing melodic phrases. Matias and guest timbalero Bobby Matos bring a passionate sense of tradition to "Song for Judd, providing heartfelt and studied percussion solos. The group builds strong performances, combining the best of both jazz worlds with their defined personal voices.

Matias and his group prioritize risk taking on "Live" Volume One, bringing together diverse musical aesthetics. At times, the album reflects the downsides of musical risks—momentary lacks of unity, occasional tuning issues in the winds, and an uneven recording. Yet the positive results push the band into uncharted Latin jazz territory, forcing them to explore new improvisational challenges. Their musical journey reflects broad jazz history knowledge and an unbridled creative spirit. Their performance evolves into a clear statement of personality and character, exposing a tradition of unified experimentation.

~ lifeforcejazz.com

FRANK D'RONE - DOUBLE EXPOSURE

If you haven't heard the velvety voice and sultry strumming of Chicago treasure Frank D'Rone, well, better late than never. Fortunately, you can hear everything the man has to offer, and maybe a little bit more, on his latest album, Double Exposure.

D'Rone, who has been around long enough to be endorsed by none other than Nat King Cole, has a natural born affinity for providing great entertainment. Whether he's belting out in front of a sizzling big band, singing some swinging pop-jazz, or crooning acoustic ballads, D'Rone can do it all and make it seem effortless. Double Exposure, and his frequent gigs in and around Chicago, and throughout his career in major nightclubs throughout the country, attest to this.

So, yes, D'Rone has indeed been there and done that. He has connected with audiences for decades; his mellow demeanor and outsize talent is shown in abundance on Double Exposure. The recording pops on impeccably arranged big-band style tunes like the opening "When the Sun Comes Out" and "Pick Yourself Up." D'Rone makes solid contact on his many guitar-based ballads, including "Make Someone Happy" and "The Very Thought of You." Throughout the record, D'Rone proves he can dazzle regardless of the genre.

Born in Providence, Frank started singing and playing the guitar on stage at the age of five. At 11, he had his own local radio show and at 13 he'd won an artist's degree in classical guitar. He formed his own band and played local dates while finishing school then took his show on the road, playing in New York City and Chicago. Frank eventually ending up in a successful residency at a Chicago club called Dante's Inferno.

During this time, Chicago proved to be a friendly place and D'Rone made a name for himself among the elite artists of the era. Celebrities such as Frank Sinatra, Johnny Mathis, Ella Fitzgerald, Shecky Greene, Oscar Peterson, Alan King, Ray Brown, Stan Kenton, June Christy and many more turned up to see D'Rone do his thing. He gained a reputation as a true artist, a singer's singer. One of his most enthusiastic admirers, the late Nat "King" Cole, penned the liner notes for Frank's first album. Sinatra requested that D'Rone be hired to play the lounge when he played Las Vegas and Atlantic City venues.

D'Rone's rare talent has served him well everywhere he goes. Frank was headlining the world-famous "Copacabana" when Tony Bennett took over the microphone on opening night and told the audience, "A few years back, Nat 'King' Cole said that Frank D'Rone was the finest singer around. Tonight he has proved that Nat was right!"

If it's "right" with Cole and Bennett, it'll be "right" with you, too. Check out Double Exposure.

MANUEL GALBAN - BLU CHA CHA

“We began with a selection of about one thousand tunes,” said Cuban guitar legend Manuel Galbán and the album’s producers Juan Antonio Leyva and Magda Rosa Galbán. Indeed, Blue Cha Cha, recorded in 2010 and the first solo work to be released by the late guitarist in many years, had been hatched conscientiously. This was a characteristic adopted by Galbán throughout his career. He was a musician who liked to allow projects to mature for as long as necessary to ensure optimal results and was averse to embarking on unwarranted adventures.

“Blue Cha Cha is a record that needed to be made, so it’s a real gift,” says Galbán’s daughter, Magda Rosa. “My father used to laugh a lot, and he would say that everything in life has to be given because ‘you know, from up the sky, there are many clouds that you cannot see…’ With this album he could see his dreams come true, and I hope that God enjoys his music as much as we have here on earth.”

When you first listen to Blue Cha Cha, a CD/DVD set for release June 26, 2012, on Concord Picante, a division of Concord Music Group, what strikes you is the variety of styles that show us once again the very best of Galbán, the maestro who left the famed Los Zafiros, then astounded the world with Buena Vista Social Club™ and, subsequently, with Ry Cooder on their sensational, #1 Latin Pop and GRAMMY® Award winning Pop Instrumental album, Mambo Sinuendo. After Galbán moved to Havana, he became one of the most active musicians on the Cuban music scene, a guitarist who was highly sought after by countless leading bands throughout his sixty-year career. Unquestionably, Blue Cha Cha is virtually a musical encyclopedia in which Galbán pooled the experience built on a lifelong career devoted to music. This knowledge assisted him throughout his entire life and helped transform him into a genuine benchmark of popular Cuban music. Blue Cha Cha is an ambitious and generous album.

At an early age, Galbán became one of the most innovative, creative and original musicians his native Cuba had ever seen, as well as an instrumentalist who achieved much worldwide acclaim. For this project, there was nothing better than going over his career and choosing all the music that always had meaning to him – Afro-Cuban music, bolero, Latin American music, rhythm and blues – and inviting some of the biggest names from these styles to perform on the album. Omara Portuondo, Rosa Passos, Trío Esperança, Eric Bibb, Sissoko Ballaké and Marcelo Mercadante, among others, all feature alongside Galbán. There are one-on-one arrangements with the aim of triumphing together rather than vying for the limelight, and they show how the sounds of Galbán’s guitar preserve sensitivity and relevance.

However, Blue Cha Cha is not merely an album of encounters; rather, it is about reunions. Galbán revives a repertoire that formed part of his musical education, and he performs alongside colleagues with whom he had shared stages and studios on earlier occasions. It offers a memory of those who are no longer with us, as indeed one can detect a sense of sorrow in “Duele,” which Galbán performed with GRAMMY® Award winning singer Omara Portuondo. “I feel very thankful and proud for being part of this album,” says Portuondo. “Manuel Galbán was an incredible musician and a great person who contributed immensely to Cuban music.”

The dulcet tones of Rosa Passos almost seem like a whispered declaration of love. “I felt very happy and honored when I was invited to participate on the beautiful song ‘Alma Mía’ on Manuel Galbán’s final album,” Passos says.

Galbán revisited his times with Los Zafiros on the track “Bossa Cubana,” as if the aim was to close a professional circle. Galbán may not have been who he was if not for the years he spent with a group that changed the course of Cuban music.

Blue Cha Cha embraces everything from the combination of Galbán’s distinctive guitar work and Sissoko Ballaké’s kora on “Batuca” to Eric Bibb’s style of blues on “Bluechacha.” “I was happily surprised to learn that Manuel Galbán was aware of me as a musician,” says Bibb. “I was absolutely thrilled to be asked to be a part of his final recording. Being in the studio working on “Bluechacha” was an unforgettable experience that I’ll always treasure. Manuel Galbán was an amazing guitarist and bandleader – it’s a great honor to be a small part of his recording legacy.”

These words lay testimony to an ever-apparent aspect: when you bring musicians from entirely different walks of life to a studio and they can connect regardless of language or culture.

Galbán revisits the sound that he himself forged and so many have tried to imitate, his unique playing style was perfectly suited to the most modern sounds. Galbán’s career had brought him to all four corners of the world, where all his inspirations and experiences are revealed on this final recording.

A close friend said after his passing, “There is always a big sadness when someone beloved has gone, but for Manuel there is a sense of happiness, because he lived as he wished, he traveled the seven seas, he loved, he drank and he touched the angels. Surely, tonight they are preparing a jam session with Ibrahim, Cachao and his other friends – where rum will finish all of them, and they’ll keep playing until dawn…”

As we approach the one-year anniversary of Galbán’s passing (July 7, 2011), the result is a recording with an almost orchestral feel, bursting with the energy that only he could glean from the guitar. With his uniquely personal stylistic elegance, Galbán could transform any tune into a gem, adapting it to a language ahead of its time, a language he created, where the sounds of the instrument bore as much significance as the discourse of the guitar. Galbán was a cornerstone of the six-string instrument, and he achieved something that very few are ever able to do: only a couple of bars are needed to recognize his unmistakable style.

CHRISTIAN SCOTT - CHRISTIAN ATUNDE ADJUAH

On July 31, 2012, Edison Award winning trumpeter-composer-producer-bandleader Christian Scott releases his compelling new album, Christian aTunde Adjuah. The follow-up to his critically-acclaimed Yesterday You Said Tomorrow is an inspired and provocative two-disc, 23-track collection. With the artist’s trumpet at the heart of most of the tunes, the album features reflective ballads, light and dreamy soundscapes, guitar-edged and rock-inflected cookers, trumpet ecstasies as well as clarion calls and anguished wails.


An intrepid explorer, Scott ups the ante on his new double album Christian aTunde Adjuah, continuing to delve into uncharted jazz territory. Scott’s band consists of guitarist Matthew Stevens, drummer Jamire Williams, bassist Kris Funn and pianist Lawrence Fields (whose piano sound is often spiced for effect by using paper on the instrument’s strings). Scott also recruited guests tenor saxophonist Kenneth Whalum III, alto saxophonist Louis Fouche IIII, and trombonist Corey King.

Christian aTunde Adjuah is arguably the most personal project to date for the young artist, reflected in the album title, Christian aTunde Adjuah-- the artist’s new name, and the album cover -- a photo of the Scott in the traditional attire of his culture the Black Indians of New Orleans.

Scott says, “The album cover is a self-portrait, a two-tiered depiction of me in the ceremonial regalia of the Afro-Native American Culture of New Orleans-- colloquially known as Black Indians or Mardi Gras Indians. The photo represents the same general idea that the record does. It's about the willingness to forge new paths and to seek new terrain while excavating one’s own past as a means of gaining a better contextual understanding of that path.” Scott explains, "The cover. The album. Everything represents the completion of my name. I am Christian Scott aTunde Adjuah. The addition of the names aTunde and Adjuah comes from two cities in the West African nation of Benin, which is present day Ghana. It’s just a way for me to tell the world that I accept all of my past and am willing to explore it. So in a sense, I haven't changed my name. I’ve completed it to reflect another part of my ancestry and lineage-- the part before Scott.”

Christian aTunde Adjuah opens with “Fatima Aisha Rokero 400,” where the trumpeter boldly soars over Stevens’ guitar and eerie muses. The song is about the ethnic cleansing, kidnapping and more specifically the rape of 400 indigenous African Sudanese women by Janjaweed soldiers in the town of Rokero. “New New Orleans (King Adjuah Stomp),” a rhythmic bouncer about the resilience of post-Katrina New Orleans. Also included on the first disc is the light, quiet, muted-trumpet of “Who They Wish I Was” about how people have equated his band with the classic Miles Davis Quintet of the ‘60s; the pounding “Pyrrhic Victory of aTunde Adjuah” about the negative reactions of people to Scott’s name completion; as well as "Kiel," a reflective musical portrait of Christian’s twin brother, director of the critically-acclaimed, award winning short The Roe Effect. Also included is the rhythmically skittering, celebratory “Spy Boy Flag Boy,” about the Scott brother’s New Orleans-based Black Indian lineage and their roles in their grandfather Big Chief Donald Harrison Sr.'s tribe.

The second disc opens with the catchy melody, guitar-growled, hopeful “The Berlin Patient (CCR5)” about the AIDS patient from San Francisco who was cured via an experimental treatment in Berlin; the snappy-drum patterned “Trayvon” that addresses the recent killing in Florida of an innocent black teen; the melodic tune “Liar Liar” about the deception-filled end of a relationship; and the ballad “I Do” that Scott wrote to celebrate his engagement.

Scott ends the album with the romantic beauty “Cara,” a song named after the musician’s mother. Scott’s breathy trumpet lines over Fields’ rich piano comping. Scott says, “There’s no better way to end the album because it’s a song for my mother who sacrificed everything for Kiel and me.”

A tour de force masterwork, Christian aTunde Adjuah opens a wide window on Scott’s present—as well as his past (especially in reaction to the jazz trads complaining about his breaking free from the jazz standard) and his auspicious creative future. In his liners, Scott writes that the listener will hear on the album “a stretching of jazz, not a replacement. That is what I hope younger people will be able to take away from it as well—the idea that innovation should never be regarded as a problem in artistic practice, that one should always be aware of what has come before, and finally, that criticisms shouldn’t evoke paralysis, [but] should inspire action.”

GERALD ALBRIGHT / NORMAN BROWN - 24/7

As listeners, we like to enjoy music 24 hours a day, seven days a week. So it’s a good thing that contemporary jazz greats Gerald Albright and Norman Brown have been working overtime to produce 24/7, their first album together. This June 19, 2012 release on Concord Jazz, a division of Concord Music Group, offers ten killer soul-jazz tracks of music that never sleeps.

Ever since the debut of Norman Brown’s critically acclaimed 2002 album, Just Chillin’ – which won a GRAMMY® in the prestigious Best Pop Instrumental Category – this innovative and original guitarist has been front and center in the fast evolving fusion of pop, R&B and jazz that has captured the imagination of true music aficionados across the country and around the world.

On 24/7, Brown teams up with saxophone master Gerald Albright, whose high-profile recordings have established the Los Angeles-based musician as one of the most prominent artists and a true “musicians' musician.” Whether he is playing contemporary or straight-ahead jazz, Albright stands in a class all by himself. His 2010 release, Pushing The Envelope, received a GRAMMY® nomination for Best Pop Instrumental Album.

“The title is reflective of the commitment that both of us have made in terms of our instruments,” Albright says. “Even when we sleep we’re thinking about melodies, recordings, concerts and whatever we’re going to do next. 24/7 also speaks to the camaraderie between us. I first met Norman back in the ’80s, when we would play together at a club in Redlands, CA. Other musicians would stop by, but I was always impressed with Norman’s playing. It was a lot of fun – but a challenge as well. We went our separate ways, but here we are now.”
Brown adds, “When we were recording the project, we didn’t have a lot of time – so we were working on it 24/7!”

24/7 spotlights Brown on lead and rhythm guitars, alongside Albright on alto, tenor and baritone saxophones, flutes, bass guitar, electric wind instrument, percussion, programming and background vocals. The band for most of the recording alternates between keyboardist Tracy Carter, rhythm guitarist Rick Watford and drummer Jay Williams; and keyboardist Herman Jackson, bassist Byron Miller, drummer Charles Streeter and percussionist Ramon Ysalas.

The album opens with “In The Moment,” a pop instrumental gem that gives Albright’s horns and Brown’s guitar lots of breathing room. “This was one of the last tunes I wrote for the project,” Albright says. “I felt we needed something uptempo and funky. Later on, we decided it should go first. The tune was very spontaneous – it came to me ‘In the Moment.’”

Herman Jackson’s “Keep It Moving” sets the mood to kick back and enjoy the ride. “Herman and I have worked together for years,” says Brown. “He’s my production partner and has worked with me on all of my albums. When we were in the studio cutting tunes, Herman played me this track, and I felt it really fit the mood of the whole record.”

“Perfect Love,” another showcase for Brown’s trademark fluid playing and clean articulation, spotlights the guitarist’s daughter, Rochella, and godson, DeMille Cole-Heard, on lead vocals. “I just love the concept of love,” Brown says. “My music is always centered on some aspect of love, and that’s been a recurring theme in all of my compositions. The lyrics were written by Dr. Farid Zarif, a natural doctor who I’ve worked with on my diet and fitness, but he’s also a musician who’s worked with Stevie Wonder.”

On “Buenos Amigos,” Albright draws creative inspiration from American jazz percussionist Willie Bobo (1934-1983), one of the many legendary musicians with whom he has worked. “I’m really into Latin music,” Albright says. “There was a big time period when I played with Willie. He really schooled me on how to play Latin, and I wanted to reflect on those experiences. The title refers to my friendship with Norman.”

It was Brown’s idea to update “Tomorrow,” a mellow Brothers Johnson classic from 1976. “I like to give the audience something familiar, but with a twist,” says Brown. “I thought this track was perfect for Gerald and me. It fits the project completely.”

Brown’s “Yes, I Can” features an irresistible groove and a positive vibe. “I always like to find something energetic, funky and groovy,” he says. “This track started with the groove and came together quickly. The tag at the end just spoke to me” ‘Yes, I can,’ ‘Yes, I can.’”

Albright’s daughter, Selina, contributes her vocal skills to the well-polished and soulful title track (and later to “Champagne Life”). “Norman and I collectively decided on the title,” Albright says. “We went through several choices. Mark Wexler [Senior Vice President and Label Manager for Concord’s Jazz and Classics Group] encouraged us to pull out all the stops and employ the talents of our daughters. Selina actually wrote the lyrics. In my opinion, this is a classic Gerald Albright mid-tempo tune. I was even able to play bass and dig in with some orchestration.”

It was Albright’s decision to include “Champagne Life,” from singer Ne-Yo’s album Libra Scale. “When I first heard Ne-Yo’s version,” he says. “I thought, ‘this feels good,’ and this would also work as a nice tune for our summer concert dates! First and foremost, I love the tune. This was the first song I brought to Norman when we started the project.”

Brown co-wrote “The Best Is Yet To Come” with Jeanette Harris. “Jeanette is a young saxophonist,’ he says. “And I was producing her album. I wrote several tracks with her, and this was one of them. Later, I decided to use it on our record. There’s a throwback feel to it that reminds me of music from the days of CTI Records.”

24/7 closes with Albright’s laid back “Power Of Your Smile.” “A thick, orchestral ballad was the one thing that we didn’t have on the album,” Albright says. “I also wanted it to have a melody that people could sing – with a nice balance between the guitar and the saxophone. After all, there’s a camaraderie between Norman and me – we’ve been friends for three decades.”

“I’ve been a big fan of Gerald Albright since back in the day,” says Brown. “He’s one of the world’s premier saxophonists, and it’s an honor to work with such a great talent. That’s what makes this project so special.

''IN THE SPIRIT OF ETTA JAMES' TRIBUTE ALBUM COMING SOON FROM LEELA JAMES

Since her childhood in L.A.'s eclectic urban culture, singer Leela James has woven the soul tradition into and around every corner of her creative identity. Deep within her rich and powerful voice are the echoes of Aretha Franklin, Mavis Staples, Gladys Knight and other iconic divas of generations past.

Born and raised in Los Angeles, James was surrounded by music from a very early age – much of it from the soul, R&B and gospel traditions that predated her by at least a couple decades. “There was definitely a lot of Al Green played in our house," she recalls. "And there were other gospel singers too, like James Cleveland, The Mighty Clouds of Joy and Shirley Caesar." She recalls her neighborhood as an extension of her own home and family. As such, she absorbed the eclectic array of whatever was playing in her friend's homes and on the streets. There was the soul and R&B and funk from artists like Aretha, Smoky Robinson and Parliament," she says. “And there was B.B. King and all the other blues artists, and then the hip hop by Run DMC and LL Cool J. There was so much that I was exposed to."

Along the way, it never occurred to her that much of what she was hearing was at least a generation ahead of her time. "Good music is timeless," she says, "so you don't really stop to think that certain music is from a different period and you're too young to embrace it. If it's good, it's good." By the time she was in high school, she was singing in numerous talent showcases and competitions. "I knew it was something that I wanted to pursue," she says, "because I enjoyed the music and I enjoyed being on stage and making people feel good and getting a positive reaction from singing."

She made her recording debut with A Change Is Gonna Come, released on the Warner label in 2005. The album title alone – taken from the title of a 1964 posthumous hit by Sam Cooke and an anthem for the civil rights movement – speaks to James' deep-rooted belief in the soul tradition and its ever-present potential to influence history. In the midst of a change in management and label over the next four years, James kept busy with an aggressive tour schedule that introduced her to festival audiences in the Netherlands, Switzerland, South Africa and elsewhere around the world. Along the way, she was nominated for 2006's Outstanding New Artist by the NAACP Image Awards and Best R&B/Soul or Rap New Artist of 2008 by the Soul Train Music Awards.

In 2009, she recorded Let's Do It Again for the Shanachie label. The album was a series of covers – mostly soul, R&B and funk tunes by the likes of Bootsy Collins, The Staples Singers, Al Green, James Brown and Bobby Womack. Also in the mix were songs originally recorded by lesser known artists like Betty Wright and Phyllis Hyman. Let's Do It Again prompted readers of soultracks.com – the respected website for all things soul, R&B and gospel – to tap James as Female Vocalist of the Year in the site's 2009 Readers Choice Poll in December 2009. But the time for James’ tributes to the old masters – however legendary – is past. My Soul (2010) consists primarily of material written or co-written by James and crafted by an assortment of talented producers, including Gerrard Baker, Carl "Chucky" Thompson, Kadis & Sean and others. The album is a giant step forward in James’ ongoing process of defining who she is and what the soul tradition has meant to her.

Clearly, Leela James's musical soul embraces an infinite range of emotions and human struggles. As an artist and as a person, making tough choices and doing the right thing – even if it's the hard thing – is what she's been all about for more than a decade. In the process, she has never lost sight of the core values of the soul tradition – passion, perseverance and a strong sense of identity. All of these and more are at the foundation of My Soul.

"In the past, people tried to put me in a box, based on what they thought soul should sound like," she says. "But soul is whatever comes out of you when you bring your deepest and most honest emotions to the forefront. All these songs are a representation of my soul."

Set for release in the coming months from Shanachie Entertainment is the highly anticipated tribute album entitled, In the Spirit of Etta James.
~ leelajames.com

LR-60 & MR. MOODS - ULTRAVIOLENCE

LR-60 & Mr. Moods released the album Coldest Memories in June 2008. Another project Ultraviolence released in Nov., 2009 followed by their newest release Cosmic Serenades. 2008s Coldest Memories opened wide the floodgates for the presentation to the world of LR-60s atmospheric, soaked-in-hooks style.

A lush chillout-jazz-for-tomorrow project, Coldest Memories has as its source of mesmerism addictive downtempo collection of grooves, a melting pot of moods and textures, dense atmospherics manifesting in paradoxical spaciousness and a merging of jazz and electronic trip.Coldest Memories, Ultraviolence and the newset Cosmic Serenades bring forward LR-60s captivating conglomerate of post-modern jazz, trip-hop, dub, chillout and so much more.

LR-60 is trumpet player Skip Warren, who found the fulfillment of a vision when he discovered electronic artist Christian Denis aka Mr. Moods. Through their correspondence they discovered that they shared the same musical goals and tastes. Thus, Warrens extensive jazz, blues and soul experience perfectly dovetailed with Mr. Moods electronic excursions.

LR-60 toured with the late "Disco Lady" Johnnie Taylor for four years in the late 70s and also played with the late Z.Z. Hill for a year. He toured with blues legend Bobby Blue Bland for a decade from 1981 to 1991. That connection nabbed him countless shows with B.B. King, Stevie Ray Vaughan, Greg Alman, Albert King, Little Milton, Clarence Carter, Tyrone Davis, Bonnie Raitt, Willie Nelson, Wilson Pickett, Junior Walker & The Allstars, John Lee Hooker, Dr. John, Millie Jackson and James Brown just to name a few.

He also enjoyed a stellar opportunity recording with gospel singer Kirk Franklin on the Nu Nation Project album with noted gospel artist Fred Hammond. LR-60 has also written and recorded original compositions for CNN. LR-60 & Mr. Moods can also be heard on the premier internet chill/lounge station SmoothJazz.com.

~ www.soundclick.com/lr60.

SUPERSAX - CHASIN' THE BIRD / DYNAMITE

Two MPS gems from this unusual 70s ensemble – back to back on the same CD! Chasin' The Bird features classic bop modes, updated strongly for the 70s – and played by a hip group of older players who really know how to cook! Supersax is led by Med Flory on alto, who also did the arrangements – and works here with great reed help from Warne Marsh and Jay Migliori on tenor, Joe Lopes on alto, and Jack Nimitz on baritone – plus soaring sounds from Conte Candoli and Blue Mitchell on trumpets, Frank Rosolino on trombone, and Lou Levy on piano – all of whom really help the reed players find their groove! Charts are large, as is the ensemble, but there's a nice sense of individual personalities too – even when all the saxophonists are taking a solo together at once. Titles include "Shaw Nuff", "Drifting On A Reed", "Oop Bop Sh'Bam", "Now's The Time", and "The Song Is You".

Dynamite is a looser, more free-swinging album than usual for Supersax – one that still has the group working with some key contributions from west coast jazz luminaries, but in a vibe that's almost more small combo than larger ensemble! The tracks here include a fair bit of Bud Powell and Charlie Parker numbers, but the arrangements are mighty fresh – open, and swinging with some hipper 70s touches, thanks to rhythms from a trio that features Lou Levy on piano, Fred Atwood on bass, and John Dentz on drums – players that are never locked into a strict bop mode. As with other Supersax albums, there's a brace of reed players working together at the front – Lanny Morgan on alto, Jack Nimitz on baritone, and both Jay Migliori and Don Menza on tenors – coming together as one voice on the solos, and getting some key help from Conte Candoli on trumpet and Frank Rosolino on trombone. Titles include "The Fruit", "Bambu", "Blues For Alice", "Tempus Fugit", "Parker's Mood", and a surprising, but great take on Antonio Carlos Jobim's "Wave". ~ Dusty Groove

LISA HILTON - AMERICAN IMPRESSIONS

In the galaxy of contemporary jazz piano, one of the brightest stars to shine is Lisa Hilton. The highly regarded publication JazzReview even referred to her as “The Lioness Of Jazz.” And by contemporary jazz I’m not referring to so-called smooth jazz, happy jazz, or jazz-pop, I’m talking about the real thing – adventurous post-bop jazz that is not afraid to color outside the lines or tread close to the edge. While Lisa is influenced by a range of the greatest musicians and composers of all times including Beethoven, Debussy, Duke Ellington, Count Basie, Miles Davis, Thelonius Monk, and many others, she honors the past while being firmly rooted in the present, with an eye on the future. She believes in tradition expressed in new ways, and goes on to say: “I feel very strongly that this generation of jazz artists will create a body of work that will become the classics of the future. Music today combines elements of our past in new ways that speak of contemporary life.”

Music, and piano in particular, dwells deep in her DNA. Lisa’s great uncle was Willem Bloemendaal, an early 20th century Dutch piano virtuoso whose life story she was greatly inspired by. In the small central California coastal town where Lisa lived in her early years, she not only taught herself to play, but began creating elementary compositions. It wasn’t long until, at the tender age of eight, she charted a course for her life and began formal training in classical and twentieth century piano literature. Her education was well rounded however, and she eventually went on to college to study art. The concepts of design that she studied are still integrated into her music and composing to this day. She sees the piano as her true “voice,” and shares that “when I play, I’m communicating our world through the notes.” With a career that boasts an impressive 16 CD’s and over 170 iTunes tracks that have gained worldwide radio airplay and awards, Lisa is certainly making her “voice” heard. However, she also communicates through other media and is a published author with her own blog for over a decade, as well as writing articles in jazz magazines, and currently working on a book about musicianship.

And speaking of musicianship, her latest CD, American Impressions, is a sterling example. Over the years, Lisa, whose musical brilliance has been compared to Bill Evans, Dave Brubeck, Oscar Peterson, and George Shearing, has surrounded herself with some of the top players in jazz, and this project is no exception. Her band members are all Downbeat Critic’s Choice award winners with extensive music industry credits. J.D. Allen, who accompanies Lisa on tenor sax, has played and toured with, among others, Ron Carter, Jack DeJohnette, and drummer Cindy Blackwell (who, incidentally, recently married Carlos Santana). Another drummer of note, Nasheet Waits, provides the rhythmic propulsion for this group, as he has with Kurt Rosenwinkel, Jason Moran, and more. And rounding out the quartet is Larry Grenadier on bass, whose credits include touring with Brad Melhldau, and recording with Pat Metheney, Joshua Redman, Chick Corea, and others. Quite the all-star line up!

The conceptual focus of the album flashes me back to a late 60’s song by The Steve Miller Band, entitled “Living In The USA.” Although I’ll let Lisa articulate it from her perspective: “As American composers George Gershwin, Aaron Copland and others have done, I seek to create musical experiences focused on impressions of everyday life in America- everything from subways to rain showers that we share in common. As an American composer and pianist, I embrace or reference our great traditional music: jazz, blues, minimalism, Americana, and our songbook of standards, in a way that is embedded in the twenty-first century.”

The album generates some heat on the opening track called “Too Hot.” Actually, the piece manages to be both warm and cool at the same time. Lisa kicks it off with a piano intro based on a two-chord modulation, setting the scene for the other group members to add their fuel to the fire. When the sax eventually made its entrance it brought to mind, at least for me, the classic quartet of John Coltrane with McCoy Tyner, one of my all time favorite dynamic duo’s. Lisa and group establish a nice groove that sustains for the whole song, with a mid-section that moves toward the “outside” a bit, before settling back in. One of the outstanding features of Lisa’s music is its diversity. The album reflects an ever-changing spectrum of styles, moods, and influences. A good example of this is on “When It Rains,” which opens with cascading piano arpeggios, washes of cymbal, and the textural percussion of brushes on drums, before evolving into a light melody with lovely liquid piano notes raining over cello-like bowed bass. This is one of Lisa’s more impressionistic pieces, and one of my favorites.

Things shift quickly to another track on the next piece entitled “Subway.” With its fast pace and urgent sense of forward motion, it perfectly captures the vibe under the streets in a city like New York. As might be expected, this is one of the edgier compositions, and is a wild ride – hang on. Then, providing a perfect breather, is “Accidental Romance,” a laid back bluesy number, perhaps influenced by Lisa’s long time love for artists like Muddy Waters, Buddy Guy, etc, although in a jazzier, more free flowing style than the standard 12 bar blues.

An intriguing choice for a cover tune is an instrumental interpretation of Joni Mitchells “Rainy Night House,” which first appeared on her Ladies Of The Canyon album released in 1970. This is a whole other piece of Americana and a welcome addition to the patchwork quilt this album represents. Its quiet sensitivity conveys considerable emotion and does a good job of representing Joni in spirit. The aquatic ambience continues on the next track with the appropriately named “Waterfall,” which would make a nice trilogy with the preceding track and “When It Rains.” The album’s other standard tune is “Echoes Of Harlem” by Duke Ellington. I really like Lisa’s and the group’s interpretation of the song, which oozes with urban cool.

In addition to her career as a recording artist and performer, another thing that is equally cool is the work the Lisa does with children who have visual handicaps. For a number of years, she has been involved in conducting workshops and playing with young musicians who are blind or visually impaired in various schools and facilities for youth in Boston, Chicago, LA, and other places. Lisa’s desire to use her music and talents as a vehicle to serve others is perfectly reflected in her creative philosophy: “The object of art is to express and communicate and move others. It is always my desire to touch people deeply through the art in my music.”

~ michaeldiamondmusic.com

NICK MOSS - HERE I AM

There’s a ‘Renaissance Man’ revival in the music industry these days, and Nick Moss has taken advantage of it. Unprecedented upheaval in the entertainment field has thrown open the doors of opportunity for artists with vision and courage to take advantage of it. The release of Nick's eighth studio album, Privileged, is proof he has both. After seven critically-acclaimed traditional blues albums, Nick has widened his focus on Privileged in order to absorb song forms and influences beyond the scope of those heard on his previous albums. Not every artist is willing to challenge themselves to grow, explore, and expand. For Nick, that hasbecome second nature.

Most artists spend years honing their skills in order to shop temselves around to different labels, hoping someone will believe enough in their potential to take a chance on them. Nick didn’t waste time waiting for someone else to believe in him. He had the passion, confidence, and drive to start his own label, Blue Bella Records, in order to pursue his dream and artistic vision.

Before Nick forged his own direction, he spent time learning about the life of a musician by playing with some of the greatest bluesmen of all time. Nick’s schooling began in earnest when he got the call to play bass with the great Chicago guitarist Jimmy Dawkins. Shortly thereafter, he hooked up with the Legendary Blues Band, featuring Muddy Waters Blues Band alumnus Willie “Big Eyes” Smith on drums. “That was one of my favorite bands,” he recalls. “I still love Willie. He is like my second father.” The next deep-blues learning period for Nick, who’d switched over from bass to a six-string, was in the band of Chicago blues legend Jimmy Rogers for three years in the mid-’90s.

From Rogers, he learned all about the special ensemble sound of authentic Chicago blues, coming to understand the importance of listening closely to and reacting to his fellow players on the bandstand. “Listen to early Muddy Waters stuff with Jimmy and Otis Spann and Little Walter,” says Nick of the original model. “It almost sounds as if they’re playing on top of each other, but they’re staying out of each other’s way. It
almost sounds like they’re all soloing at the same time.”

With his blues graduate studies completed by the late ’90s, Moss launched his band, The Flip Tops and Blue Bella Records. Their first album, First Offense, was followed by Got a New Plan in 2001 and two years later a third album, Count Your Blessings. The latter two received W. C. Handy award nominations, and Count Your Blessings included ace contributions by Nick’s friends Sam Myers, Anson Funderburgh,Willie Smith, Curtis Salgado and Lynwood Slim. June 2005 saw the release of fourth album Sadie Mae, named after his beautiful baby daughter. Sadie Mae was nominated for 2006 Blues Music Awards as “Album of the Year” and “Traditional Blues Album of the Year.”

Those first four studio albums and relentless touring helped Moss build a devoted audience. That following was so excited about the music they were hearing in clubs across the country night after night that they not only encouraged Nick to release a live album, they helped make arrangements for it. Live at Chan’s, released in 2006, was nominated for “Album of The Year,” “Traditional Blues Album of the Year,” and saw
Moss nominated as “Guitarist of the Year” at the 2007 BMAs.

What made the album so successful? Nick made certain the night they rolled tape was just like any other night when he and his band took the stage. “I wanted to make sure that the CD reflected the spontaneity of our live performances. I’ve been blessed with an extremely talented band; each one of us is a multi-instrumentalist and has no problem switching it up during our shows! We have had nothing but compliments from our audiences after they see how the guys and I take turns on different instruments as we did on this particular night.” Moss followed his first live release up with a double album Play It ’Til Tomorrow.

By expanding with a second disc, the band was able to present another serving of live, loud, and raucous electric blues as well as showcase their ability to strip their sound down to the bare, acoustic essentials. Play It ’Til Tomorrow once again featured Oshawny on keyboards (he switched over to bass on four tracks and second guitar on another) and Hundt on harp and vocals (he also played bass, rhythm guitar and mandolin on the disc). Special guests Eddie Taylor, Jr. and Barrelhouse Chuck made their presence felt too. This impressive double release went on to be named among the “Decade’s Best Blues: 25 Great Albums That Defined the Past 10 Years” in Blues Revue Magazine in 2010.

The acclaim Live at Chan's garnered convinced everyone that a sequel was definitely in order—and the sooner, the better. Thus we have Nick and the band’s new CD: Live At Chan’s: Combo Platter No. 2, with special guest Lurrie Bell. The set once again captures what this uncommonly hard-hitting, endlessly versatile crew does best: live and lively Chicago blues, deeply rooted in postwar tradition with a heady infusion of contemporary energy.

No matter how far he travels, be it geographically or stylistically, the pull of Chicago and his roots there are never far from his mind. It’s where he started out on his musical journey; each new approach merely marks a stop along the way.

Nick Moss has followed his most critically and commercially successful album to date with the release of Here I Am, a record already drawing raves from peers and mentors, like renowned bluesman Jimmy Thackery, who has praised this new set for “pushing the evolution of his music” with tunes that are “genuine and intense.”

Here I Am is bursting with personal growth and the kind of honesty fans have come to expect from Moss, whose unique approach to traditional Chicago blues on five studio records and two live albums resulted in multiple Blues Music Award nominations from the Blues Foundation. The 10 new original songs on Here I Am combine to create the most diverse album of his career as he pushes his sound, songwriting, and lead guitar work further than ever before.

http://www.nickmoss.com/

FREDDIE HUBBARD - GLEAM

Jazz funk genius from Freddie Hubbard in the mid 70s! Gleam was a Japanese-only double album from the jazz giant in its original release – mighty funky at times, too – right up there with some of the best Miles Davis and Herbie Hancock Japanese sets from the 70s! It's a live set captured in March of '75 at Tokyo's Yubin Chokin Hall – long numbers played by a group that includes Freddie on trumpet, Carl Randall on tenor and flute, George Cables on electric piano, Henry Franklin on bass, Carl Burnett on drums, and Buck Clark on percussion! Each player has plenty of space to groove, and it's very well captured – you can hear the most expressive solos and the most subtle nuances.

Some great solos by Freddie and the rest of the players – breathless tenor & flute by Randall, keys by Cables that are jazz funk perfection and interplay between Burnett's drums and Clark's congas & percussion that's somehow tense and comfortable at the same time. The shortest number in the set runs more than the 7 minutes and the longest is more than 20 minutes – and none is one second shorter than necessary, actually leaving us pining for more – making it all the more vital in the double album format. Released on 2CDs for the first time ever here! How this great album has been so hard to find over the years is a mystery. Titles include "Kuntu", "Spirits Of Trane", an amazing cover of Stevie Wonder's "Too High", "Midnight At The Oasis", "Ebony Moonbeams", and "Put It In The Pocket". ~ Dusty Groove 

JACK DEJOHNETTE CONTINUES 70TH BIRTHDAY CELEBRATION WITH AMBITIOUS PERFORMANCE CELEBRATION

Following the launch of his latest critically acclaimed album, Sound Travels (released January 17 on Golden Beams/eOne), as well as being named a 2012 NEA Jazz Master in January, drummer and pianist Jack DeJohnette will continue to celebrate his landmark 70th birthday year with high profile performances, festival appearances, among other activities.

DeJohnette recently participated in the International Jazz Day inauguration at the United Nations in New York City on April 30 with Herbie Hancock (in his role as UNESCO Goodwill Ambassador), UNESCO Director General Irina Bokova, among other internationally recognized artists. "It was a great honor to be part of this extraordinary event. An amazing feeling to play in the UN General Assembly with my friends Herbie Hancock, Wayne Shorter, and Ron Carter honoring Miles Davis, and also playing with some of my other friends," reflects DeJohnette. "As UNESCO ambassador, Herbie has created a historic event here and is expanding the awareness of this great art form."

On May 9, DeJohnette will begin a West Coast tour at The Shedd in Eugene, OR, with a trio consisting of Chick Corea and Stanley Clarke. Billed as DeJohnette's 70th Birthday Tour, the tour serves as this trio's debut and will also headline Jazz Alley in Seattle (May 10-13) and Catalina's in Los Angeles (May 15-20). The same trio will return to the West Coast in September, with performances at Yoshi's San Francisco (September 5-8), The Opera House in Napa Valley, CA (September 9), and The Rio Theatre in Santa Cruz, CA (September 10).

DeJohnette has scheduled performances at several renowned festivals in North America this Summer and Fall, including appearances at two of the most prominent U.S. jazz festivals. On June 28, The Jack DeJohnette Group (featuring saxophonist Rudresh Mahanthappa, guitarist Dave "Fuze" Fiuczynski, pianist George Colligan and bassist Jerome Harris) - his working ensemble - will headline the Ottawa International Jazz Festival. On August 4, DeJohnette will headline the 2012 Newport Jazz Festival presented by Natixis Global Asset Management, performing in three different settings: with his working ensemble, his All-Star group (featuring guitarist Lionel Loueke, pianist George Colligan, bassist Christian McBride, saxophonist Tim Ries, percussionist Luisito Quintero, and trumpeter Jason Palmer) as well as a duo performance with Jason Moran. In September, DeJohnette will serve as the 55th Annual Monterey Jazz Festival's 2012 Showcase Artist, and will perform three times throughout the weekend (September 21-23), with his working ensemble, his Special Trio (with Pat Metheny and Christian McBride), and in duo with Bill Frisell.

Other notable appearances for DeJohnette throughout the year include participation in Pat Metheny's five-day Summer Music Workshop beginning on August 20 as well as two European tours (in July with The Keith Jarrett Trio and in late September with his own group).

DeJohnette's 2012 festivities will culminate with two performances: the long-awaited reunion of "The Gateway Trio," featuring John Abercrombie and Dave Holland, at Chicago's Orchestra Hall (a hometown performance for DeJohnette) on November 2, and a Keith Jarrett Trio performance at NJPAC in Newark, NJ on December 1.

UPCOMING JACK DEJOHNETTE WORLDWIDE PERFORMANCES:

* May 9: The Shedd , Eugene, OR
* May 10-13: Jazz Alley, Seattle, WA
* May 15-20: Catalina's, Los Angeles, CA
June 8: ShapeShifter Lab w/Ravi Coltrane & Matt Garrison, Brooklyn, NY
June 14-15: Blue Note Jazz Festival w/Savion Glover, New York, NY
** June 28: Ottawa International Jazz Festival, Ottawa, ON
July: European Tour w/The Keith Jarrett Trio (Dates/Markets TBA)
+ August 4: Newport Jazz Festival, Newport, RI

August 20-24: Pat Metheny Summer Music Workshop w/Larry Grenadier & Jim Hall, Norwich, CT

* September 5-8: Yoshi's, San Francisco, CA
* September 9: The Opera House, Napa Valley, CA
* September 10: The Rio Theater, Santa Cruz, CA
** September 21:  Monterey Jazz Festival, Monterey, CA
September 22: Monterey Jazz Festival w/Pat Metheny & Christian McBride, Monterey, CA
September 23: Monterey Jazz Festival w/Bill Frisell, Monterey, CA
** September 24-27: European Tour (Dates/Markets TBA)

October 26-27: Jazz at Lincoln Center's "John Coltrane Festival" - The Allen Room w/McCoy Tyner
New York, NY

November 2: Orchestra Hall - "The Gateway Trio" Reunion feat. John Abercrombie and Dave Holland
Chicago, IL

December 1: NJPAC w/The Keith Jarrett Trio, Newark, NJ
** February 1, 2013: Symphony Hall feat. Lionel Loueke, Detroit, MI
** March 2, 2013: Manchester Craftsmans Guild feat. Lionel Loueke, Pittsburgh, PA
** March 16, 2013: The Kennedy Center feat. Lionel Loueke, Washington, DC
May 2013: Japan Tour w/The Keith Jarrett Trio (Dates/Markets TBA)

* Jack DeJohnette Trio with Chick Corea and Stanley Clarke
** The Jack DeJohnette Group
+ The Jack DeJohnette Group, All-Star group,
and Duo w/Jason Moran (three different performances)

jackdejohnette.com

MICK HUCKNALL SINGS AMERICAN SOUL LIVE AT THE ROYAL ALBERT HALL

Mick Hucknall has announced his first solo concert, to be performed at the Royal Albert Hall in London for one night only, on September 18th 2012. This hails the beginning of a new chapter for ex-Simply Red frontman Hucknall after the final curtain fell on Simply Red at their triumphant sell-out Farewell Tour in December 2010. On what promises to be a very special night in Hucknall’s glittering career, he will showcase his forthcoming new solo album American Soul, featuring his own take on classic songs which have inspired him throughout his life. American Soul features such songs as “I Only Have Eyes For You”, “I’d Rather Go Blind”, “That’s How Strong My Love Is”, ‘Tell It Like It Is”, and “Turn Back The Hands Of Time”. The Royal Albert Hall is without doubt the most prestigious and beautiful live venue in London and has been the host to the most revered artists of our time, drawn from every musical genre; a fitting venue for the launch of the exciting next phase in Mick Hucknall’s extraordinary career.


Tickets for Mick Hucknall sings American Soul go on general sale on Friday 11th .

Tour Dates:UK
Tuesday 18 September London, Albert Hall

Luxembourg
Thursday 29 November Luxembourg

Germany
Friday 30 November Köln
Saturday 1 December Köln
Sunday 2 December Oberhausen
Tuesday 4 December Frankfurt
Wednesday 5 December Frankfurt
Thursday 6 December Erfurt
Friday 7 December Berlin
Saturday 8 December Hamburg
Sunday 9 December Hamburg
Tuesday 11 December Bremen
Friday 14 December München
Saturday 15 December München
Sunday 16 December München
Tuesday 18 December Stuttgart
Wednesday 19 December Mannheim
Thursday 20 December Hannover
Friday 21 December Dortmund

NIYAZ - SUMUD

Niyaz, which means ‘yearning’ in Persian and Urdu, was formed in 2005 by vocalist Azam Ali, multi-instrumentalist Loga Ramin Torkian and two-time Grammy nominated producer and electronic musician Carmen Rizzo. Since their last release, Nine Heavens made waves in the global music community, the band have toured worldwide, had their music placed in numerous films & television shows and each released stunning solo albums that continue to push them into the international spotlight. Nine Heavens was heavily featured on world-wide radio (including NPR and PRI in the States), topped the charts of iTunes World Music and CMJ World Music, and continues to be discovered by new fans worldwide.

Now the band returns with their third album, Sumud. The album's title is Arabic for "steadfastness" and the record's musical themes center around the plight of ethnic and religious minorities around the world. Azam Ali chose this philosophical term as a symbolic reminder that, as she explains, ‘every human being should inherit the right to live with dignity and freedom upon the land on which they are born.’

With a heavier emphasis on the electronic side of their sound and a special guest vocal appearance from Oscar-winning Indian composer, musician and singer AR Rahman, Sumud is the most powerful release yet from one of global fusion's most popular bands.

Upcoming Tour Dates:
Sat 5/19/12 L'Astral Montreal, Canada
Thu 5/24/12 Festival Mawazine Rabat, Morocco
Fri 7/20/12 Festival Paleo Nyon, Switzerland
Sun 7/22/12 Drom (The East Village) New York, NY
Wed 7/25/12 Kennedy Plaza, Atlantic City, NJ
Fri 7/27/12 Faerieworlds Eugene, OR
Sat 8/4/12 Grand Performances (Free Concert) Los Angeles, CA
Sun 8/5/12 Yoshis San Francisco, CA
Thu 8/9/12 TBA Irvine, CA
Sat 8/11/12 KPCenter Seattle, WA

~ Giant Step Records

GLENN FREY - AFTER HOURS

Six-time Grammy Award winner and founding member of The Eagles, Glenn Frey has released After Hours, a collection of classic love songs from the 40's to the present. The 11-track collection finds the Eagles singer/guitarist offering his take on a variety of classic love songs written between the 1940s and today.

Among the tunes Frey recorded for the album are Randy Newman's "Same Girl," Burt Bacharach and Hal David‘s “The Look of Love,” The Beach Boys' "Caroline, No," and a jazzy rendition of Bobby Troup‘s R&B standard “Route 66.” 

Frey collaborated with co-producers Richard F.W. Davis and Michael Thompson, both members of The Eagles touring band, to make the 14-track record possible.

After Hours, his sixth solo album and first since 1995 is a total departure taking him in a whole new direction. The two-and-a half year project was developed out of Frey's passion for the songs. “I wanted to make this album for my parents, who are still alive and kicking,” the Rock and Roll Hall of Famer explained. “I wanted to share [my version of] their music with them. It was great making the record.” He added that making After Hours was a “real challenge,” but one he enjoyed so much that he’d like to record another album along the same lines.

Frey kicks off a brief tour in support of the new record on Wednesday at New York City’s Town Hall. The six-show trek runs through a May 26 concert at the Wiltern theater in Los Angeles.

After Hours Tracklisting:
1. For Sentimental Reasons

2. My Buddy

3. The Good Life

4. Route 66

5. The Shadow of Your Smile

6. Here’s To Life

7. It’s Too Soon To Know

8. Caroline, No

9. The Look Of Love

10. I’m Getting Old Before My Time

11. Worried Mind

12. I Wanna Be Around

13. Same Girl

14. After Hours

CONYA DOSS - A POCKETFUL OF PURPOSE

It seems like every time I listen to Conya Doss, her voice has more depth, soulfulness and maturity. I’ve had a chance to review her last three records – Still, Blu Transition and now A Pocketful of Purpose. I also believe that the songwriting on this project is tighter, so Doss and her team continue to improve. Given that they started from a pretty high level, that’s a good thing.

Even with all that she has working for her, Doss comes into the music business with some built-in disadvantages: She is an educator in the Cleveland schools and she is also a parent – which means that she is the first educator. Doss takes both roles seriously, and that means she is conscientious about the images that she projects. That means Doss won’t allow herself to be objectified, which seems to be the price a lot of female vocalists have to pay for admittance into the mainstream.

It’s clear from listening to A Pocketful of Purpose that Doss was thinking about the pound of spiritual flesh that the industry often exacts from artists and about raising a son who will move through this world as healing agent. The soulful track “Letter” is a musical dispatch that her son (and all sons and daughters) will listen to and appreciate. Doss tells her son that he is loved and that he is one thing that she always wanted. She reminds him that he has a voice and to use that voice to make the world a better place. “The world is looking for leaders/I want you to grow up and be a real man,” Doss coos in a tune that works both as a charge and a lullaby.

If “Letter” is a lullaby, then “Jamie” is a cautionary tale. This song tells the story of an emerging vocalist who finds success as a singer, but loses connection to the family and friends who provided early encouragement and foundation.

Doss has long been a much sought after duet partner, and she places another gem on A Pocketful of Purpose. “What About You And Me” is a cut with a sweet Motown-like vibe that carries the story of two friends who realize that they might want to think about taking things to the next level. Doss melds the song’s young love theme with vocals that are passionate and sensual.

As good as the whole of Pocketful is, it's the album’s last track where even long time Doss fans will hear the growth in her vocals. Accompanied only by a piano, Doss displays a jazz singer’s clarity of vocals and more remarkable vocal range. A singer can’t hide weaknesses if they’re only accompanied by a piano, and Conya Doss has no weaknesses to hide on this tune or on A Pocketful of Purpose’s other 12 tracks. She's simply an artist at the top of her game. Highly Recommended

By Howard Dukes
http://www.soultracks.com/

BRIAN BROMBERG - COMPARED TO THAT

“I’m one of the lucky ones,” says the musician as he barrels down a desolate desert highway accompanied by a massive 300-year-old acoustic bass. Together, they had embarked on a three-week road trip traversing the country beginning in Southern California en route to Reading PA, then on to Nashville TN, returning through his hometown of Tucson AZ and finishing in the San Fernando Valley outside of Los Angeles.

During the trip, Grammy® nominated bassist Brian Bromberg played a handful of shows, including a preview performance featuring music from his new Compared To That album at the annual Boscov’s Berks Jazz Festival in Reading before heading south to teach a master’s class in Nashville. And since he was road tripping, Bromberg figured that he would visit his mother for Passover. His vehicle contained several piccolo and electric basses along with assorted amps, but the reason for the cross- country drive instead of flying was the irreplaceable acoustic instrument.

“Last year, one of the airlines dropped it and it cost a fortune to repair. I can’t take any more chances with it,” he explains. “Besides, it was a great trip. I enjoyed taking the time to see the country like this. It’s a really exciting time in my career.”

Indeed Bromberg does imbibe rarified air. The purpose of our conversation is to discuss his three uniquely different, artistically divergent albums slated for release this summer: Compared To That, Bromberg Plays Hendrix and In The Spirit of Jobim. But he also oozes enthusiasm for a labor of love project: the launch of the world’s first online radio station for bass players, bassonthebroadband.com.

“Most bass players will never get airplay or a record deal and I’ve been blessed to always have both. bassonthebroadband.com is about the instrument. It’s an enormous undertaking, but nothing like it exists for bass players. They don’t have any outlets exclusively devoted to playing the music of bassists, which blew me away; thus we’re building it from the ground up. We’ll air music and video clips featuring the greatest bassists in the world in all genres of music, including submissions from all over the world from amateurs. I’ve been talking to some prominent bass players about hosting a show on the station and potential sponsors about sponsorship. It’s all very exciting and I’m certain we can grow the station and the site while generating revenue. But for me, it’s primarily about creating opportunities for bass players to be heard.”

After Bromberg refuels at a gas station near Palm Springs, it’s necessary to refocus him. This is the norm for the musician-producer-composer-arranger who has achieved accolades, respect and success, commercially and artistically, as a solo artist in both straight-ahead and contemporary jazz. It’s not that he is forgetful. Like a yogi, Bromberg is simply focused on the present moment. Once complete, he immediately sets his sights on the next endeavor.

“I never plan what I’m going to play or how I’m going to play it. I don’t write down any of the notes I’ll play or the changes and certainly I never pre-plan my solos. I’ve always been a diehard jazz guy—an improviser. I get it done in the moment by simply letting the music ‘come through me.’ I channel it. Planning it would suck the life out of it for me. After recording, I have to listen to what I played in order to relearn the song and how to play it because I forget it instantly,” he reveals.

Journalists and fans typically want to know at least the highlight reel moments of an artist who has amassed an extraordinary discography of credits and accomplishments, but due to his limited focus on the mountain ahead, it takes a bit of arm wrestling to get much out of the humble man who has had a signature line of basses in his name for more than a decade.

“Playing in Stan Getz’s band as an 18-year-old out from the desert [Tucson] was a life-changing experience, probably the single greatest experience of my career. Earning a Grammy nomination in 2007 for Downright Upright was certainly another highlight. Of course, I lost to Herbie [Hancock], but that’s okay,” he chuckles.

Jazz sax titan Getz is one of many legends and icons in all genres of jazz and popular music with whom the versatile Bromberg has recorded, played and/or toured. “I don’t think about it ‘til someone asks me in a situation like this, but yes, when I look at the credits I’ve been fortunate to accumulate over the years, it’s pretty astonishing.” The list of bold faced names boasts Hancock, Dizzy Gillespie, Sarah Vaughan, Dave Grusin, Nancy Wilson, Sting, Elvis Costello, Steven Tyler, Michael Bublé, Josh Groban, Diana Krall, Andrea Bocelli, David Foster, George Benson, Bob James, Lee Ritenour, Kenny G, Chris Botti, Boney James, Dave Koz and many more. But Bromberg is grounded and maintains perspective.

“I’m incredibly blessed to have played with the greatest musicians in the world. You have to have the realization of who you are and the relationship with the Spirit, or God or whatever you want to call it, and be able to communicate it at a high enough level to be able to play with the greats. Then success is the byproduct of the spiritual space.

“Truth is that I didn’t know what to do or how to do it when I first started out. Most bassists don’t [know]. I learned completely on my own. And you can hear the growth and development on each of my solo records. Everything is getting better—the production, the songs, the playing. Hear the evolution, go on the journey and experience the growth,” Bromberg says about his 20-album solo career that began with the release of his 1986 debut disc, A New Day.

The first of three musical offerings to be released in 2012, Compared To That, showcases Bromberg on the finely aged acoustic instrument on more than 70 minutes of music. Performing on the record that was recorded live over two days followed by three months of meticulous production work are Alex Acuña, Gannin Arnold, Charlie Bisharat, Randy Brecker, Vinnie Colaiuta, George Duke, Bela Fleck, Mitch Forman, Larry Goldings, Jeff Lorber, Gary Meek and Tom Zink.

“Surround yourself with excellence and you’ll get excellence,” Bromberg declares. “Compared To That is a jazz record. It’s live and you hear that energy. It’s the mentality, spirit and artistry of a spontaneous jazz record meets the highly produced production of a big pop record like David Foster would make. I have no idea what the reaction to it will be, but I love using state of the art [recording] technology. I tried to make Compared To That a true blend of time consuming modern audiophile production and live spontaneous improvised classic mainstream jazz. It’s a completely live jazz record with heart and soul, and is totally honest and has integrity.”

Initially Bromberg contemplated making a funky, contemporary jazz record, but label execs (Artistry Music/Mack Avenue Records) suggested that he take a more straight-ahead jazz path instead. “Sometimes I forget that I’m an artist. Many bass players aren’t afforded the ability to be artists, yet I have that opportunity. For me, it’s always been about being more than one-dimensional. I write, produce, arrange and play. Thus I had to get into a more artistic space and listen to the art inside. Music is my heart and soul, and sometimes it’s painful to express. It’s important to me to push the envelope stylistically whenever it makes sense. You can groove to Compared To That; it grooves me from beginning to end. It was really fun to make and there’s a lot of levity and a lot of adventure on the album. It has a nice balance of fun, entertaining tracks along with deeper material.”

Bromberg wrote eight new songs specifically for Compared To That favoring a swinging, walking bass approach. “Be-bop jazz is not what I normally do, thus it was fresh and exciting for me. I got spoiled by the horn section from [his 2009 album] It Is What It Is. On stage, I love the live horns so I wanted to use them a lot on Compared To That. The horn section brought a lot of energy. It’s neat the way the record unfolded.”

According to Bromberg, the title track sounds like a standard. “It sounds like ‘60s-‘70s nightclub jazz. It absolutely has that vibe.” Horns provide power punches to the energetically swinging big band tune on which Bromberg’s piccolo bass dispenses fast and feisty guitarlike riffs. The bassist uses a variety of piccolo basses throughout the album to croon lead melodies. Although they sound like guitar, there is virtually no guitar on the album.

On the playfully titled “Rory Lowery, Private Eye,” the frenetic horn section mimics the piccolo bass lead on the sweaty, straight-ahead Spy vs. Spy workout that possesses a visceral air of mystery. At nearly 10 minutes the composition is sprawling, providing ample ground for Forman’s nimble piano etchings.

“I’m not a prolific writer and this one just showed up. I literally just started playing the tune,” says Bromberg about the sassy, Southwestern seasoned “If Ray Brown Was A Cowboy?” Pondering and gregarious, it is the only track on the album performed by a trio: Bromberg on acoustic bass, Zink on piano and Colaiuta on drums. “Ray was one of the most important bass players of our lifetime and I’ve got nothing but love and respect for him. I was lucky enough to meet him and hangout with him a few times. The song is a simple, feel-good song with a cowboy twang and a tongue-in-cheek title.”

Bromberg calls “Hayride” the centerpiece of the collection. Massive in scope both compositionally and instrumentally, including strings by The Rising Sun Orchestra from Tokyo and Grammy-winning violinist Bisharat, the frolicking call-and-response dialogue between Bromberg’s acoustic bass and Fleck’s jangly banjo is the focal point. “Be-bop meets Nashville or country jazz with a vibe,” Bromberg snickers. “I love it and I’m very proud of this one, the hugeness of it. I was touched by Bela’s willingness to play on the track and what he brought to it.”

Changing directions entirely, “A Little New Old School” dishes up deep, horn-powered funk of the vintage variety with rich contributions from Brecker and Lorber. “Picture ‘70s Miles [Davis]—free funk. It’s a very loose jam tune with incredible horn arrangements by Nathan Tanouye.”

On the gorgeous “Forgiveness,” the orchestra adds depth and emotion to the cinematic melody sung somberly by Bromberg’s steel-string acoustic piccolo bass. Acuña’s unobtrusive percussion helps churn the groove. “This is another one of those songs that came through me. It’s real, honest and introspective. It’s not exactly jazz, but it is too important of a composition not to be included on the album,” shares Bromberg.

Snappy horns add sunshine to the first radio single, Bromberg’s coolly swinging version of the Chicago hit “Does Anybody Really Know What Time It Is?” “This is one of a handful of songs from the Great American Pop Songbook. It was swinging from day one. The original had walking bass with horns and was essentially a jazz tune, yet it was an iconic pop hit.”

Brecker’s muted trumpet helps spark the hard-charging “I’m Just Sayin’.” “The first part of the melody is kind of simple, yet it’s a real jazz tune with vibe and attitude. It has great energy,” says Bromberg about the fiery swinger.

The usually jovial and energetically positive Bromberg found it difficult to solo on the emotional and pensive “The Eclipse.” “It’s the darkest tune spiritually. Stylistically, it has a New York jazz sound.” Brecker’s flugelhorn adds class to the astute, scholarly statements emanating from Duke’s piano.

Bromberg loves covering the unexpected and he closes Compared To That with a very unlikely cut: an inventive, swinging rendition of the Rick James hit “Give It To Me Baby.” “No one would ever expect this tune on a jazz record,” Bromberg laughs. “But Rick was a bass player and the song has a unique and prominent bass line. It’s a real jazz tune with a lot of energy and real players. There are reasons why a song is a hit. So if you’re going to do a cover, why not make it your own?”

The second album Bromberg will release this summer is a surprising 10-song collection of guitar legend Jimi Hendrix’s hits that was recorded without the use of a single guitar. In fact, it is just Bromberg and Colaiuta on Bromberg Plays Hendrix. “If it is not drums, then all the instruments you hear are me. This project is not a gimmick; it’s very musical and real. It’s all about the music for me.”

Two different record executives from two different cultures suggested the concept for the recording two years apart. “I respect both these guys. They are both very successful and very experienced. Initially, I thought it was rather bizarre when one suggested that I make an album saluting one of the greatest rock guitarists of all time, but when the second suggestion arrived I began to seriously contemplate how to do it creatively.”

It turned out to be more challenging than Bromberg anticipated. He used a lot of fretless bass in the role of lead guitar. “I find the fretless bass to be more human. Hendrix didn’t just sing melodies; he spoke to you. He was a true genius and a true American icon. It was monumentally challenging and it took a while to figure out how to capture his delivery and distill the melodies from his vocals.”

The collection rocks hard as Bromberg innovatively crafted smoldering versions of Hendrix’s hallmark hits including “Fire,” “Manic Depression,” “The Wind Cries Mary,” “All Along The Watchtower,” “Foxey Lady” and “Purple Haze.” “It sounds live yet it was all overdubs. The tracks have peaks and valleys. It sounds like music and I’m most proud of that. I didn’t want it to sound like a bad guitar player or a NAMM demo. It breathes, it shreds and it’s musical,” he says.

Taking another left turn to salute another 1960s seminal figure, In The Spirit of Jobim is comprised of five classics made famous by Brazilian legend Antonio Carlos Jobim—“One Note Samba,” “Wave,” “Tristeifinado” (“Triste” and “Desafinado”), “Corcovado” and “The Girl From Ipanema”—and seven Bromberg compositions emulating Jobim’s style. Bromberg harnessed The Rising Sun Orchestra and surrounded himself with Brazilian musicians in an effort to foster authenticity. It’s a stunning and romantic collection. “I love Brazilian music and it’s a blast to play live. The music is so positive and energetic. The songs are simple and melodic. It’s just beautiful,” he gushes.

In The Spirit of Jobim and Bromberg Plays Hendrix were previously released in Asian territories, but Bromberg recut, remixed and remastered the collections. “I played new bass parts using my line of Carvin guitars. It’s amazing. Both albums sound entirely brand new,” Bromberg enthuses.

He is thrilled about the rare opportunity to release three vastly different albums in a six-week span. “It truly is a blessing to be able to put out three diametrically opposed projects pretty much at the same time. My hope is that people will listen to the albums and embrace them for what they are versus what they aren’t.”

Stepping back to gaze at the big picture, Bromberg reflects on the significance of his cumulative body of work along with his major contributions to the bass. “From a legacy perspective, mine is constantly being created and evolving. Over the years from album to album, you can hear my contributions to the instrument. It’s been positive and at times painful, and it’s grown deeper and more real. As an artist, my ability to communicate, to really share what I’m trying to say, has grown. It’s taken a career to find my way yet I’m only scratching the surface.

“Recording is a musical window to the soul. It’s who you are as a person that’s coming out. I’m trying to say something musically. The most rewarding thing for me is when people get it, when they feel it. And people respond to what they feel in the heart and soul.”

Bromberg’s creative muse is much like that cross-country journey with his triple century-aged acoustic bass. His commitment to greatness is unwavering and patient. He’s passionate and relishes adventure. Audaciously, he forges his own constantly evolving musical path striving for significance and depth. Serious about his art, his sense of humor is only eclipsed by his attitude of gratitude, his communications honest and soulful. Indeed, Brian Bromberg is one of the lucky ones.

~ mackavenue.com

FELA - LIVE IN DETROIT 1986

New York's Knitting Factory Records presents the release of Live In Detroit 1986, the first new Fela Kuti material to be issued since his final studio album, Underground System, in 1992. Recorded live at the Fox Theater in Detroit in November 1986, the concert marked a triumphant return to the USA for Fela. He had tried to leave Nigeria to tour the States two years earlier before being arrested and imprisoned on dubious charges of "currency trafficking". An Amnesty International campaign helped secure his release in April 1986 and, just two months later, he appeared on stage as part of Amnesty's Conspiracy Of Hope American tour.

The evening's audio recorder, Bob Teagan, recalls the '86 Fox Theater show, "It was like seeing Boby Marley, Frank Sinatra, Michael Jackson, Marvin Gaye, and James Brown all rolled into one. Fela captured the revolution of Marley, the love of Marvin Gaye, he sung with a rare and exquisite charcoal voice like Sinatra but he would scream himself out and go hoarse by the end of the three hour marathon show, all the while he danced like Michael Jackson or a ballerina, and captivated the crowd with the showmanship of James Brown...Coming into the Fox Theater, Fela was well aware that it was the same venue that birthed the careers of Marvin Gaye, Stevie Wonder, and it was the epicenter of Motown. These were all profound influences on Fela and he did those artists justice with his performance, dancing all across the massive stage and inciting the crowd to move with him."

The Detroit concert was part of Fela's debut US tour with his Egypt 80 band and the recording finds them on strident form, showcasing all-new material in free-flowing extended workouts: "Just Like That" recalls Fela's memories of the Nigerian Civil War; "Confusion Break Bones" (an update of his earlier track, "Confusion"), compares the present African situation to a permanent traffic jam at a town center crossroads; "Teacher Don't Teach Me Nonsense" swipes at the oyinbos (white men) forcing sham versions of democracy on Africa and allowing "democratic" rulers to line their own pockets at the expense of the people while foreign-owned multi-nationals are allowed to freely strip the continent of its natural resources; "Beasts Of No Nation" reflects on Fela's recent court case and imprisonment in Nigeria and, more widely, on the issues around Apartheid. The messages here resonate as powerfully as anything from Fela's career.

The tracks featured in the concert would appear on studio albums: Teacher Don't Teach Me Nonsense during the same year, produced with Compass Point studios mainstay Wally Badarou, then Beasts Of No Nation and O.D.O.O. (Overtake Don Overtake Overtake) in 1989. Often overlooked in favour of the punchier sound of Fela's recordings with Africa 70, these later recordings are deeply soulful affairs, at times melancholy, marked by lengthy, complex and freeform arrangements.
Live In Detroit, 1986 is released on May 8th by Knitting Factory Records.

~ glidemagazine.com