QFM 94.3 FM SMOOTH JAZZ FROM TENERIFE SPAIN

Tenerife » Spain Jazz qmusica.com

The largest of the seven Canary Islands is the Spanish island Tenerife. Located in the Atlantic Ocean off of the coast of Africa, it is a beautiful location and the most populous of the Canaries as well. While it may seem like an exotic locale with not much in common with us in our hustling and bustling way of life out here in the Western world, there is actually a lot of commonalities with Tenerife and our lifestyles. For one, QFM 94.3 radio plays a great mix of jazz, soul, and blues that many North American listeners would find comforting and unique. When QFM hit the airwaves, a lot about Tenerife wasn’t known to the world. As a radio station, it focused on a local population and played a mix of music that most of us wouldn’t recognize.

But as time passed, Tenerife’s QFM 94.3 changed along with it. Today, you’ll find a great mix of funk, jazz, soul, blues, and world music on Tenerife’s radio station of choice. Grooves from over 100 countries now make up the playlists of QFM, giving a whole new sense of energy to the station and granting an international audience something to tap their feet to. Music from the Bahama Soul Club, hiGhFidElity, Fourplay ft Esperanza Spalding, Freddie Hubbard, Claus Zundel, Queen of the Gipsy, and more fill the airwaves with great musical selection the likes of which most of us here in the West have never heard. At the same time, the music on QFM sounds entirely familiar as the grooves from the instruments and the sounds of the voices create a universal sense of class and excitement that few among us can deny.

To connect with an international audience is a huge responsibility, but by using music from over 100 countries and expanding its horizons beyond smooth jazz, QFM 94.3 is breaking the boundaries that many American radio stations still hide behind. Done with demographics and forcing through on a new path, QFM rocks the house in Tenerife and is sexy and sassy enough to please any tourist or music fan from anywhere in the world. Check it out the next time you’re in the Canary Islands or listen online at qmusica.com.

Courtesy of Online Radio Live
http://www.onlineradiostations.com/radio-stations/spain/tenerife/qfm-94.3-smooth-jazz-music/details.html

WILLIE, ELVIS, LUTHER, JOHN DENVER, MORE COLLECT HOLIDAY BEST ON "CLASSIC CHRISTMAS ALBUM" RELEASES

Sleigh bells ring – are you listening?

Legacy Recordings certainly hopes you are, as a bounty of new holiday-themed collections is coming your way. The first Classic Christmas Album arrived last year, a compilation of Christmas favorites from Tony Bennett (including a previously-unreleased version of “What Child is This?”). More titles are on the horizon to make spirits bright this year, and we have details on five of them to share right now, with more news to come! On October 2, Legacy will release newly-compiled sets from Elvis Presley, John Denver, Kenny G, Willie Nelson and Luther Vandross. Each new collection offers 14 or more freshly-remastered tracks spanning the career of each artist, all of whom recorded multiple holiday albums, as well as contributing the odd holiday song elsewhere.

Perhaps the most-anthologized of these artists is Presley. With faith always paramount to the singer, he recorded a holiday album early in his career, via 1957’s Elvis’ Christmas Album. Elvis’ fourth album, it consisted of eight Christmas songs and four gospel traditionals which had previously been released on the Peace in the Valley EP. Seven of those eight tunes (all save “I’ll Be Home for Christmas”) reappear on his Classic Christmas Album. Seven more tracks come from his second holiday long-player, 1971’s The Wonderful World of Christmas, which was itself expanded last year by Follow That Dream. It’s rounded out by two tracks from 2008’s posthumous Christmas Duets and a 1966 single, “If Every Day Was Like Christmas.” Presley’s Christmas repertoire has been collected in every conceivable repackaging, perhaps most notably RCA’s 1994 If Every Day Was Like Christmas, but this new compilation is a reasonable place to start one’s immersion in the King’s Christmas magic.

Elvis recorded enough songs in the genre to be classified as a country-and-western legend himself, and he’s joined by two more country heroes. Willie Nelson staked his claim to holiday fame in 1979 with his Christmas classic Pretty Paper. The album, his last of the 1970s, was titled after the song he wrote in his early songwriting days, subsequently recorded by Roy Orbison in 1963. The entirety of Pretty Paper is included on Willie’s Classic Christmas Album, and it’s joined by four other tracks including the non-holiday (but certainly generous of spirit) “What a Wonderful World” and, “A Dreamer’s Holiday,” co-written by Kim Gannon (“I’ll Be Home for Christmas”) and Mabel Wayne. John Denver famously proclaimed in song, “Thank God I’m a country boy!” but he could frequently be found on the pop charts, too. His Classic Christmas Album entry samples eight tracks from his seminal 1975 Rocky Mountain Christmas plus one tune from its expanded CD edition. In addition, two tracks have been included from Denver’s A Christmas Together, his 1979 holiday foray with Jim Henson’s Muppets, and four from his 1990 Christmas Like a Lullaby. Denver didn’t restrict celebrating to Christmas albums, however; “Jingle Bells” was taken from 1970’s covers album Whose Garden Was This.

Legacy flashes forward to the 1990s and beyond with the final two entries in this batch, from two very different ends of the spectrum: Luther Vandross and Kenny G. Late soul man Vandross’ entire 1995 album This is Christmas has been included on his Classic Christmas Album, along with both songs from his Every Year, Every Christmas EP plus “The Christmas Song” and a live version of “Have Yourself a Merry Little Christmas.” Smooth jazz saxophonist Kenny G has released numerous holiday albums since 1994’s Miracles: The Holiday Album, and it’s no wonder why. In 1997, Miracles was named by Billboard as the best-selling Christmas album of the entire Nielsen/SoundScan era which began in 1991. By last Christmas, 2011, the multi-platinum best-seller had sold more than 7 million copies in the U.S. alone. In addition to five tracks from Miracles, seven tracks from its follow-up Faith have been included, two more from 2002’s Wishes and another two from 2005’s The Greatest Holiday Classics. Kenny G’s holiday oeuvre has already been collected on 2006’s The Holiday Collection, but his Classic Christmas Album bests that compilation by six tracks.

John Denver, The Classic Christmas Album (RCA/Legacy 88725 43775 2 8, 2012)
1. A Baby Just Like You
2.  The Christmas Song (Chestnuts Roasting on an Open Fire)
3.  White Christmas
4.  Christmas For Cowboys
5.  Please, Daddy (Don’t Get Drunk This Christmas)
6.  Blue Christmas
7.  Noel: Christmas Eve 1913
8.  Medley: Alfie, The Christmas Tree/Carol For A Christmas Tree/It’s In Everyone Of Us
9.  Coventry Carol
10.What Child Is This?
11.Christmas Like A Lullaby
12.The Marvelous Toy
13.O Holy Night
14.Aspenglow
15.Jingle Bells
16.Have Yourself A Merry Little Christmas

Tracks 1-2, 4-5, 9-10, 13-14 from Rocky Mountain Christmas, RCA, 1975
Track 3 from Rocky Mountain Christmas (Expanded Edition), RCA CD, 2005
Tracks 6, 11-12 & 16 from Christmas Like a Lullaby, Windstar CD, 199
Tracks 7-8 from John Denver and the Muppets: A Christmas Together, RCA, 1979
Track 15 from Whose Garden Was This, RCA, 1970

Kenny G. The Classic Christmas Album (Arista/Legacy 88725 41311 2 0, 2012)
1.  Winter Wonderland
2.  White Christmas
3.  Have Yourself A Merry Little Christmas
4.  Silent Night
5.  Silver Bells
6.  Let It Snow! Let It Snow! Let It Snow!
7.  The First Noel
8.  I’ll Be Home For Christmas
9. Sleigh Ride
10.The Christmas Song
11.Santa Claus Is Coming To Town
12.Joy To The World
13.Do You Hear What I Hear?
14.My Favorite Things
15.Jingle Bells
16.Auld Lang Syne

Tracks 1-5 from Miracles: The Holiday Album, Arista, 1994
Tracks 6-11, 16 from Faith: A Holiday Album, Arista, 1999
Tracks 12-13 from Wishes: A Holiday Album, Arista, 2002
Tracks 14-15 from The Greatest Holiday Classics, Arista, 2005

Willie Nelson, The Classic Christmas Album (Columbia/Legacy 88725 44531 2 3, 2012)
A Dreamer’s Holiday
White Christmas
Here Comes Santa Claus
Jingle Bells
Rudolph The Red-Nosed Reindeer
Winter Wonderland
Frosty The Snowman
Santa Claus Is Coming To Town
Pretty Paper
Blue Christmas
Christmas Blues
O Little Town Of Bethlehem
Away In A Manger
Joy To The World
What A Wonderful World
Silent Night, Holy Night

Track 1 from Without a Song, Columbia, 1983
Tracks 2-12, 16 from Pretty Paper, Columbia, 1979
Tracks 13-14 possibly from Christmas with Willie Nelson, Unison CD, 1994
Track 15 from What a Wonderful World, Columbia, 1988

Elvis Presley, The Classic Christmas Album (RCA/Legacy 88725 45538 2 3, 2012)
1.  I’ll Be Home For Christmas (with Carrie Underwood)
2.  Blue Christmas (with Martina McBride)
3.  Winter Wonderland
4.  The First Noel
5.  The Wonderful World Of Christmas
6.  Holly Leaves and Christmas Trees
7.  O Come, All Ye Faithful
8.  Merry Christmas Baby
9.  I’ll Be Home On Christmas Day
10.If Every Day Was Like Christmas
11.White Christmas
12.Silent Night
13.Here Comes Santa Claus (Right Down Santa Claus Lane)
14.O Little Town Of Bethlehem
15.Santa Claus Is Back In Town
16.Santa Bring My Baby Back (To Me)
17.Blue Christmas

Tracks 1-2 from Christmas Duets, RCA, 2008
Tracks 3-9 from Elvis Sings the Wonderful World of Christmas, RCA, 1971
Track 10 from RCA single 47-8950, 1966
Tracks 11-17 from Elvis’ Christmas Album, RCA, 1957

Luther Vandross, The Classic Christmas Album (Epic/Legacy 88691 96832 2 6, 2012)
The Christmas Song
My Favorite Things
Have Yourself A Merry Little Christmas
The Mistletoe Jam (Everybody Kiss Somebody)
With A Christmas Heart
I Listen To The Bells (Duet with Darlene Love)
A Kiss For Christmas
Every Year, Every Christmas
This Is Christmas
Please Come Home For Christmas
O Come All Ye Faithful
Have Yourself A Merry Little Christmas (Live)
May Christmas Bring You Happiness
At Christmas Time

Track 1 from A Very Special Christmas 2, A&M CD 31454 0003 2, 1992
Tracks 2-11 from This is Christmas, Epic CD 481312 2, 1995
Track 12 TBD
Tracks 13-14 from Every Year, Every Christmas, Epic CD ESK 7395, 1995

All discographical information to the best of our knowledge only.

:::: SOURCE: The Second Disc ::::

AMANOVA – ON A SMOOTHY WAY

Earlier this year we posted a story about French singer Amanova who at the time was in the midst of producing her debut EP. Her just-released CD has finally been released and is entitled On A Smoothy Way.

On A Smoothy Way consists of  six original songs written by Amanova that sport laid back jazz sounds as well as refreshing sounding musical arrangements. On all of this, Amanova and her collaborators (including David Fourney and Philippe Gatto) strike a great balance as Amanova proves herself to be a fine interpreter and song stylist.

It’s really hard to pinpoint which of the six tracks is a standout as each one is pleasant to listen to, however, if I had to pick on, it would have to be the lead track “What A Way To Be” which I confess to listening to over a dozen times already. Another favorite is “When I’m Dreaming Of New Orleans” which is reminiscient of a Louis Armstrong New Orleans’ inspired arrangement, with plenty of satisfying horn arrangements mixed within. The horn on this track by the way is beautifully played by Patrice Lerech.

There is no denying that this collection of jazzy tunes, each wrapped in an understated jazz arrangement, represents an amazing piece of work from Amanova. On A Smoothy Way as a whole has a stripped-down style that emphasizes her voice’s natural beauty which is ideally suited to the material.

On A Smoothy Way tracklist:
1. What A Way To Be (3:36)
2. Red (3:57)
3. Call Me (3:18)
4. When I’m Dreaming Of New Orleans (3:31)
5. Then Will Come The Chance (3:51)
6. Unstoppable (4:08)

Musicians:
Amanova – lead vocals, background vocals
Philippe Gato – keyboards, arrangements, programming
Dominique Gatto – saxophone, flute
David Dore – guitar
Eric Goubert – clarinet
Patrice Lerech - horn

www.amanova.net

NEW RELEASES - THE BROTHERS JOHNSON, ORNETTE COLEMAN, JOHN BARRY

THE BROTHERS JOHNSON - BLAM

Blam is right – an all-out batch of funky tracks from The Brothers Johnson – captured here right in the middle of their classic period with Quincy Jones! The Q's at the helm on production for the set, and the record's a great extension of their earlier efforts with the man – but a bit more Johnson-tuned (if we can say that in mixed company) – with the bass upfront on some of the best numbers, and a surprisingly strong male ballad approach on some of the gentler tunes. There's a slightly jazzy undercurrent at times, and tracks include "Rocket Countdown/Blastoff", "Ride-O-Rocket", "Streetwave", "Blam", "So You Won't Stay", "Ain't We Funkin Now", and "Mista Cool". CD also features the bonus single mix of "Ride-O-Rocket".

ORNETTE COLEMAN – CHAPPAQUA SUITE

One of Ornette Coleman's most groundbreaking albums – a set that takes his best free jazz energy of the 60s, and expands it out into the space of a longer suite – all originally designed as a film soundtrack, then never used in the movie at all! Yet even without the film placement, the album's one of Coleman's greatest – a unique blend of his best small combo 60s energy with some larger orchestrations that really go way out – mixing tones and modes from the soloists against a larger backdrop of woodwinds and strings. The result is mindblowing – very open-ended and freewheeling, yet filled with soul too – thanks to great alto and trumpet from Ornette, and raw tenor from Pharoah Sanders – working in the core quartet with David Izenzon on bass and Charles Moffett on drums. The set features one long double-length piece – four sides' worth of amazing music!

JOHN BARRY – BODY HEAT

A really wonderful later score from John Barry – and key proof of the maturity he really hit in his music during the 80s! There's a style here that goes way beyond most of his soundtracks of the 60s – and even of the 70s – a depth of feeling and jazzy approach that's almost like some of the best vintage work by Johnny Mandel! The orchestrations are sublime – handled by Al Woodbury with a really careful balance of strings and solo instrumentation – the greatest of which is the alto sax of Ronny Lang, which blows out wonderfully on most of the score's best numbers. Titles include "Main Title", "I'm Weak", "Chapeau Grits", "Busted", "Surprise", and "Oscar". This beautiful 2CD package is filled with a huge amount of tracks – not just the 13 numbers of the original album, but an additional 47 numbers – including tracks from the film, demos, and other great bits.

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

MARCHIO BOSSA - RADIO BOSSA CHANNEL

Marchio Bossa’s swansong melds Bossanova style of the 1960s and '70s with modern soul and funk, together with classy horn arrangements, all sung in English, Italian, and Portuguese. Have faith, friends, there are still intelligent and elegant songwriters in the world, with songs that feature more than three chords, lyrics that endlessly intone 'baby, baby, baby', and monotonous bass lines designed merely to blow out our car speakers. Thanks to the efforts of Bari (Italy)-based brothers Piero and Pippo Lombardo, one can enjoy this musical intelligence on the latest – and last – album from Marchio Bossa, Radio Bossa Channel.

The twelve-member southern Italian ensemble, produced and recorded at Azzurra Music (Venice) by veteran Mr. Marco Rossi, paints a veritable landscape of aural delights on the final album expected from the troupe. After a decade together, the Lombardo Brothers are focusing future efforts on a new project with Cámera Soul (also known in English as “Soul Chamber”) and leaving the suave sounds of the 1960s and 1970s behind. One can hear lead writer Piero Lombardo’s attempt to cross over to a more “soulful” sound, even in his work with Marchio Bossa.

In earlier efforts, Marchio Bossa’s signature sound remained within the straight-ahead, cool Brazilian-bossa realm that appealed to dedicated fans of the genre. However, beginning with Italian Bossa Bar (2010), the Lombardos began to write more complex harmonies in keeping with legendary soul songwriters, such as Maurice White (Earth, Wind & Fire), Lionel Richie, and Stevie Wonder. These modern harmonies, found on a few tracks on Italian Bossa Bar (i.e. “Ama” and “Your Smile”), translated well into Camera Soul’s debut album in 2012, Words Don’t Speak, and the Lombardo Brothers’ transition from writing strictly for a straight-ahead jazz ensemble to a modern soul and dance combo was made.

With the exception of “Maravilha”, however, Radio Bossa Channel generally tends to stay true to Marchio Bossa’s traditional Latin jazz roots. The compositions are deceptively complex and elegant behind the scenes, but clean and simple in delivery, led effortlessly by Francesca Leone’s soft, relaxing, pitch-perfect, and round vocal style.

As in earlier Marchio Bossa efforts, the members of the Lombardo Brothers’ group offer clean, flawless, and gorgeous playing within each chart’s deep harmonic structures, not only in the guitar chords, light bass lines, and phrasing, but also in piano solos and iconic horn lines (featuring trumpet and saxes on this effort.) Pippo Lombardo delivers well on charts such as the self-titled track, with a beautifully-constructed (and all too short!) piano solo. As the solos never tend to stray beyond one chorus, no horn solos are featured, and all twelve tracks remain under five minutes, it is evident that Marchio Bossa intends this album to be for commercial release and radio airplay.

On the other hand, due to the complex horn lines, one could argue that the group is also attempting to continue to appeal to devoted Latin jazz lovers. It is a delicate balance, but due to Marco Rossi’s talented production and the Lombardo Brothers’ writing, Radio Bossa Channel achieves it. I am just sorry to hear that this is the group’s swansong album, but am also heartened that the Lombardo Brothers will continue to write great music under the guise of Camera Soul.

WALDEMAR BASTOS - CLASSICS OF MY SOUL

Album Featuring London Symphony Orchestra Already Garnering Success in Native Angola and Europe

"His voice, the overwhelming fervor with which he sings these songs is simply amazing!" - MSN Germany

"Waldemar Bastos is one of the greatest voices to come out of Angola, maybe even Africa!" - Mondomix France

Stream Tracks From Classics of My Soul

Renowned world musician Waldemar Bastos' sixth studio album, Classics of My Soul, was released in the United States on September 11th, 2012. The record, which was produced by Derek Nakamato and features players such as percussionist Luis Conte, guitarist Mitchell Long and pianist Keiko Matsui among others in support of Bastos' acoustic guitar and singing, was released in his native Angola in 2010. Recorded in Los Angeles and London, Classics of My Soul now returns to the shores where it was crafted.

"The new album has a different sound," says Bastos. "I believe that we are in a moment of Peace in Angola, the first steps of democracy, and this of course fulfills your spirit with joy. It also reflects itself in the music and the music is the reflection of my state of mind. All these ingredients made the album more profound and cheerful."

Nakamato, who Bastos met while working on the U2 Tribute album, In the Name of Love - Africa Celebrates U2, said, "After many conversations with Waldemar, we decided the foundation of this record would be his voice and unique acoustic guitar playing. After we recorded all of the basic tracks and lead vocals, my role as producer was simply to listen to what the music needed. It was important to Waldemar that this project would take place without a record company or any person that would have influence on the music or its direction. My commitment to him was that this was to be 'his record.' With his distinguished career and numerous recordings, I clearly sensed that there was something more he wished to achieve with this project.

Waldemar remarked to me that these songs presented on Classics of My Soul are very special and close to his heart, even more important treasures to the people of Angola. This album was to celebrate their spirit and not his ego. I remember an instance where he sang a vocal that astounded us in the room and upon listening to it on playback, Waldemar looked at me and said, 'No, the performance is too much about me and the song IS NOT about me. Let me do it again.' With a very subtle shift the emotion of the song reflected the lyric and not the dramatic performances of 'singer.' His intent always was very clear."

Among the host of musicians chosen to take part in the album, Bastos and Nakamato also went to London where, with the help of conductor Nick Ingman, they recorded the London Symphony Orchestra for four of the album's tracks. Bastos says, "my music is defined by my own life experiences, praise for Angolan identity, and a call for universal brotherhood. It is gratifying for me to hear critics say, as it recently happened in the USA, that my music is universal. That it is not a regional music, but instead for people everywhere."

Waldemar Bastos was born near the border with Zaire in N'Banza Congo, a little town which was the first capital city of the ancient kingdom of Angola. He started singing at a very early age. Bastos describes his musical childhood as such,"When I was a child, my mother soon realized I had a very special musical gift. I used to spend my days singing and whistling, and my mother noticed that as something out of the ordinary...and she gave me all her support. One day, my father arrived home and found me playing his concertina. I felt bad for having been caught touching, without permission, an instrument which was almost sacred for him. But he was pleasantly surprised, I think he was even satisfied, to hear me playing popular radio songs. In the following Christmas he gave an accordion as a gift." From there, Bastos would dedicate himself wholeheartedly to music, traveling around Angola and playing everything from pop and rock to waltzes and tangos.

In the meantime, Angola won its independence and followed the long socialist road. Feeling burdened by the repressing role of the government in the arts, Bastos defected to Portugal in 1982 and later to Berlin and from thereto Brazil, where he became acquainted with some well known musicians, such as Chico Buarque, João do Vale, Elba Ramalho, Djavan and Clara Nunes who had been in Angola in the late seventies. Bastos' career bloomed during his time away from his homeland. His debut, Estamos Juntos, was released by EMI-Odeon while the musician lived and worked in Brazil, with the acclaimed sophomore release, Angola Minha Namorada, following in 1990 when Bastos had returned to Portugal.

All the while the musician continued to be in the Angolan spotlight. In 1990 he gave a memorable concert to an audience of 200,000 in Luanda's Kinaxixe Square and returned two years later on the heels of his third album, Pitanga Madura. Bastos says, "given the fact that an effervescent historical moment was taking place, if, on the one hand, these circumstances brought me joy, on the other hand, I felt great apprehension because of the way I was being claimed by both sides. The situation became, again, dangerous for me, and I understood it was not the right moment to stay in Angola."

While travelling through Lisbon, David Byrne, the mastermind of Luaka Bop record label, and ex-leader of the Talking Heads, bought, by chance, a record of the Angolan singer in a downtown Lisbon shop. Soon after that Bastos would be featured on the album Afropea - Telling Stories to the Sea, an anthology of Lusophone artists issued by Luaka Bop. Afterwards there was Pretaluz/Blacklight, recorded in NYC, produced by Arto Lindsay, and issued by Luaka Bop. The New York Times described it as "one of the best World music records of the decade" and was included in Tom Moon's book 1000 Recordings to Hear Before You Die. In the aftermath of Pretaluz/Blacklight, Bastos won the "Award for the Emerging Artist of the Year (1999)".

In 1998, Bastos was discovered by the European audience and media after his successful tours in Europe as the opening act at the UNESCO Festival "Don't forget Africa" in June 2000 in the Canary Islands. Later in the year he was invited by Mr. Ruichi Sakamoto to take part in the Zero Landmine project in cooperation with international artists like Arto Lindsay, Brian Eno, David Sylvian, Jacques Morelenbaum. Other accomplishments include three of his compositions being featured in the Hollywood movie, The Sweepers. He has also received several invitations by Monacan royalty Prince Ernst August von Hanover and Princess Caroline von Hanover in the course of which he also gave a private concert for Rainier III. In 2003 the Angolan war ended after 30 years and Bastos was invited to celebrate this very special day in a remarkable performance in the national stadium in Luanda.

"The message of the new album is the congregation of beauty, love, fraternity and to unite the people through music," says Bastos. "For me the music has the function of breaking barriers and helping to create a better world, that is what I believe."

Waldemar Bastos EPK
Classics of My Soul - Track Listing:
1. M'biri! M'biri! - 5:36 *
2. Humbi Humbi Yangue - 5:33
3. Teresa Ana - 5:16
4. Tata Ku Matadi - 6:04
5. Pôr do Sol - 6:07
6. Aurora - 5:08 *
7. Muxima - 5:18
8. Calção Roto no Rabo - 6:19
9. Perto e Longe - 5:53 *
10. N'Duva - 4:14 **
11. Velha Xica - 5:35 *

*featuring the London Symphony Orchestra
** featuring Keiko Matsui

waldemarbastos.com
enjarecords.com

:::: SOURCE: DL Media ::::

PAPO VAZQUEZ - OASIS

Papo Vazquez is a most unusual trombonist and musician. He is a “deep” player. His music seems to originate somewhere deep in his head.

It is almost as if his soul lives there and because ideas seem to start in the brain, Vazquez sculpts them there so that when they emerge it is as if Vazquez has created something so deep and thoughtful it could only have come from a brain and soul combined. He proves this once again on his magnificent album, Oasis. The melodies are so beautifully crafted and even when they appear to be simple, they are actually so three dimensional that notes, lines and phrases appear to have a spherical feel as they roll and tumble out of his horn and out of the instruments of the other musicians who play here as Mighty Pirates.

But it is Papo Vazquez who leads the charge. He is, to use a fairly overused term, a complete musician. His ability to write wonderful melodies is enviable. However, Vazquez gives these beautiful melodies a body and form that is exquisitely defined, sensuous and colourful. Listening to his work with eyes closed, it is possible to “see” his notes as women cavorting hypnotically in a parallel universe. That Vazquez brings music to life is easy to discern and appreciate. He sculpts sound and colours it with extraordinary harmonies all by himself. Then, suggesting much more in his musical direction he extracts an altogether new world of colour from those accompanying him. Vazquez is also a sublime rhythmic player. He seems to embody the tunes he writes so that when he plays his entire body seems to dance into the tunes.

Oasis is a classic example of this Vazquez’s music shuffles and swings as he melds Afro-Caribbean rhythms with the freer swing of jazz idioms. But here too he is unique, creating spectacular rhythmic imagery with his horn and the instruments of the other musicians, such as tenor saxophonist, Willie Williams, pianist, Rick Germanson and of course his majestic rhythm colourists: bassist Dezron Douglas, the sublime drummer, Alvester Garnett and of course his two percussionists, Carlos Maldonado and Anthony Carillo. Although it is senseless to try and single out any particular tune “Sol Tropical” and “Psalm 59”might be good examples of the majesty of the music on this record. Just listening to the growl of Douglas’ bass together with the dazzling arpeggios on Germanson’s piano and the thundering broadcast from Vazquez’s bone is breathtaking.

There is another side to Papo Vazquez as well and that is his immensely soft, emotional dimension. On music such as “City of Brotherly Love” Vazquez is incomparable as he plays his heart out on the melody as well in the interminable dance that he creates with saxophonist Williams. This and the sensitivity he has for the wind from deep in his lungs is achingly beautiful. This is felt throughout the album, from the introduction to “Manga Larga” right through the meandering shadowy course of ”Oasis” with its carnal strings and horns, until the extended finale on “Plena Drumline” a remarkable creation that glorifies the African colours that reside the Puerto Rican musical spirit. In Oasis Papo Vazquez has created a major work; something that will endure for many years to come.

Tracks: Manga Larga: Oriza, Bomba Rule, Jazz; Sol Tropical: Plena, Jazz; Danzaon Don Vazquez: Danza; Que Sabes Tu: Bomba Hoyo de Mula Jazz; Psalm 59: Jazz Waltz; City Of Brotherly Love: Jazz Ballad; Oasis: World Music Jazz; Redemption: Plena Lamento Jazz; San Juan De La Maguana: Merengue Jazz; Igor’s Mail; Verdura De Apio/The Real mcCoy: Bomba Yuba’ Jazz; Plena Drumline: Carnival.

Personnel: Papo Vazquez: trombone, shells; Willie Williams: tenor saxophone; Rick Germanson: piano; Dezron Douglas: bass; Alvester Garnett: drums; Anthony Carrillo: barriles de bomba (1,4,11), pandero de plena (2,8,12), darbuka/djembe (7), maraca/cua/coro (4,11), bells/snare drum (12); Carlos Maldonado: congas/cajón peruano (1), tympani/chinese gong (7), surdo; Candido Reyes: guicharo (2,3,12); Akua Dixon’s Quartette Indigo (7,8): Ina Paris: violin, Patrisa Tomassini: violin, Chala Yancy: viola, Akua Dixon: cello. Regina Carter: violin (7).

Papo Vazquez – Official Website: www.papovazquez.com
Label: Picaro Records
Release date: August 2012
Reviewed by: Raul da Gama

:::: SOURCE: Latinjazz.net ::::

LAURA ANDREA LEGUIA - SAXOFON CRIOLLA

It is entirely within the realm of possibility that, eyes shut; the soprano saxophone of Laura Andrea Leguía is engaged in an interminable dance with the guitar of Yuri Juarez as the Afro-Peruvian music of the warm Pacific Coast beckons with exquisite seduction.

From the dreamy heat of the Vals Criollo to the aching beauty of the Landó and the brisk beauty of the Festejo and the swagger of the Polca Criollo the two instruments seem breathtakingly entwined as the gorgeous music of Saxophon Criollo unfolds. Leguía’s extraordinary technique and style shimmers with singular splendour. Her sliding cadences evoke the poetic vocalastics of the legendary Chabuca Grande. This is especially true as Leguía explores the middle and lower registers of the soprano saxophone. Leguía has a genius for soft timbres and a spectacular range of colours and shades. This is most deeply felt in the hypnotic instrumental version of her Leguía’s composition “Eva” towards the end of the record. Adding to the warmth and colour is guitarist Yuri Juarez who with deft flourishes of fingers and ingenious harmonics contributes much to the music’s artistry, while bassist Pablo Menares also adds subtle shades with wonderful melodic inventions and ingenious double stops.

But there is much more to this magnificent album than just “Eva”. The lilting “Mariposas” opens proceedings with a deeply felt, beautiful ache of in the very best tradition of a Vals Criollo. Interestingly the mood changes dramatically throughout the album; from the pungent playfulness of “Puerto Pimentel” to the languid glow of “Tarde o Temprano”. Throughout the album melodies are painted onto a never-ending sonic canvas with exquisite grace and beauty. Afro-Peruvian motifs are explored with astute sharpness and great maturity. Notes bend and melt into a vortex, filled, in return with masterful harmonies that shiver and swing with a rhythmic swagger that contains the whisper of pride of the music`s African roots, entwined with the heat and dust raised at a Spanish fiesta.

Laura Andrea Leguía has chosen her musicians with sublime taste and great passionate conviction. Yuri Juarez is a master of all things Afro-Peruvian and his extraordinary dynamic and expression is felt long after the notes of his guitar fade away. Cellist, Marco Lucioni brings forlorn beauty to “Tarde o Temprano”. And there is a certain majesty to the tortured sighs of “Puente de los Suspiros”. Just as Juarez shapes the harmonies with outstanding rapport with Leguía so does the bassist, Menares. His gentle attack is majestic as it is ingeniously melodic. Menares never goes to the same place twice. As a result he brings great surprise to the music with murmuring gentility.

This is a superb album, whose beauty will not diminish, but rather grow upon repeated listening that leads to new and wondrous musical discovery.

Tracks: Mariposas; Puerto Pimentel; Puente de los Suspiros; Eva; Tarde o Temprano; Estrellita Del Sur; Mal Paso; Lejos; Eva (Instrumental Version); Al Otro Lado.

Personnel: Laura Andrea Leguía: soprano saxophone, voice; Yuri Juarez: guitar; Luis Antonio Vilchez: cajón; Pablo Menares: contrabass (1, 2, 4, 5, 8, 9, 10); Ronald Díaz: segunda guitar (1, 3, 6, 7); José Villalobos Cavero: cajón (4); Waltinho Casanova: cajón (4); Aldo Borjas: castañuellas (1); Marco Lucioni: cello (5).

Laura Andrea Leguía – Website: www.myspace.com/laurandrealeguia
Label: Saponegro Records
Release date: 2012
Reviewed by: Raul da Gama

:::: SOURCE: Latinjazznet.com ::::

NEW RELEASES - MEDESKI MARTIN & WOOD, THE MODERN JAZZ QUARTET / SONNY ROLLINS, GROOVE STU

  

MEDESKI MARTIN & WOOD - FREE MAGIC

For their latest effort, MMW dip into their archives to present a collection of recordings documenting their first-ever acoustic tour in 2007. The set, stretching out over five expansive tracks, captures the three intrepid improvisers keyboardist John Medeski, bassist Chris Wood and drummer Billy Martin exploring the telepathic hookup and deep groove sensibility that has defined MMW since its inception in 1991. Free Magic will be released on September 25, but you can pre-order now on CD, vinyl, or digital download at the MMW store. Tracklisting: Doppler; Blues For Another Day; Free Magic/Ballade In C Minor,Vergessene Seelen'; Where's Sly; Nostalgia In Times Square/Angel Race.

THE MODERN JAZZ QUARTET AT MUSIC INN GUEST ARTIST: SONNY ROLLINS


The Modern Jazz Quartet with a very noteworthy addition – the great Sonny Rollins, whose work on this record really makes it a cut above the usual MJQ outing for Atlantic! As on the quartet's previous Music Inn album with Jimmy Giuffre, the addition of a reed player really inflects their trademark sound with a new range of sounds and feelings – and Rollins himself cuts back on the hardbop influences, and shows some great restraint in matching some of the group's more modern modes. Sonny only plays on 2 of the album's 6 tracks – but that's enough to open it up nicely – and on other numbers, the MJQ begin in their usual mellower mode, but then seem to step things up with more boppish inflections, almost anticipating Rollins' arrival on the last 2 numbers. Sonny plays on the tunes "Bag's Groove" and "Night In Tunisia" – and other titles include "Midsommer", "Festival Sketch", "Yardbird Suite", and an opening medley. ~ Dusty Groove

GROOVE STU - ARTOFFICIAL SUBSTANCE

Man, it's been forever since we heard from Groove Stu – and during that time, they've really grown a lot! This excellent set is full of soul and charm right from the very first night – a very unique nu school harmony record – yet done without any chart cliches or some of the overdone styles you'd find in other male groups – thanks partly to the obvious maturity of these guys! The harmonies are great, and the vocal interplay is really fresh – upbeat, positive, and set to these slightly jazzy tunes that take off with a great deal of warmth. Titles include "Thing Called Love", "Back In The Day", "Ebony Superstar", "Places", "Get Right", "Come & Go With Me", and "Perfect Time". ~ Dusty Groove

NEW RELEASES - DUKE PEARSON, LARS GULLIN, FATHER'S CHILDREN

DUKE PEARSON – PRAIRIE DOG

Dark genius from Duke Pearson – quite possibly one of his hippest records ever, and an album that's filled with surprising twists and turns! At one level, the set seems to be a simple batch of soul jazz tunes – in the mode of Pearson's mid-60s classics on Blue Note – but at another, it opens up into unusual phrasings, timings, shades, and tones – all of which are years ahead of their time, and serve to keep the album full of complexity throughout! Many tracks groove here – but in a very subtle way that often moves a bit towards modal jazz. And the players on the set shade things in unconventionally – sometimes using understatement and space as their strongest tools – clearly directed by Pearson's budding talents as an arranger. Players include James Spaulding on flute and alto sax, Harold Vick on soprano sax, Johnny Coles on trumpet, George Coleman on tenor, and Gene Bertoncini on guitar – and Pearson himself plays a bit of celeste in addition to his regular piano. Titles include a great version of Joe Henderson's "Soulin", plus Ron Carter's "Little Waltz", and Pearson's own "The Fakir", one of the best tracks he ever wrote! Other titles include "Hush A Bye", "Prairie Dog", and "Angel Eyes". ~ Dusty Groove

LARS GULLIN – BARITONE SAX

An amazing American release from this legendary baritone saxophonist – one of a few Swedish sessions that Lars issued here in the US at the time! The album's a perfect introduction to Gullin's groundbreaking work – that blend of soul, swing, and modernism that easily made him one of the best talents on his instrument in the postwar years – an overseas player to rival gians like Pepper Adams or Serge Chaloff here in the US! The work is some of Lars' best from the decade – and the tracks feature his modernist baritone in different groupings with top Swedish jazzmen of the time – including Rune Ofwerman on piano, Arne Domnerus on alto, Rolf Blomquist on tenor, Ake Persson on trombone, and George Riedel on bass. The tracks are all longish (most are over 5 minutes), with a strong swing, and introspective solos by Gulling that are some of his strongest of the time – and titles include "Perntz", "Fedja", "All Of Me", and "So What". ~ Dusty Groove

FATHER’S CHILDREN – FATHER’S CHILDREN

A lost classic from Father's Children – the group's only album ever, but an impeccably produced set – thanks to the efforts of Wayne Henderson's At Home Productions team! The groove here is similar to that forged by Henderson over at Fantasy – soul, but inflected with plenty of jazzy fusion touches – instrumentation that steps out riffing with a really great edge, and fleshes out the sound with a lot more creativity and imagination than mainstream soul at the time. The best grooves here have a midtempo boogie flavor – with plenty of righteous jazzy touches alongside the richer harmonies that flow out warmly on the lyrics! Titles include their landmark track "Hollywood Dreaming", plus other nice ones like "Got To Get Away", "Gone Bad", "You Can Get It", "Music For Your Mind", "Wild Woman" and "Shine On". 2 bonus tracks on this CD version: 7-inch edits of "Hollywood Dreaming" and "Shine On". ~ Dusty Groove

NEW RELEASES - HALIE LOREN, ELVIN JONES, LEO WRIGHT

HALIE LOREN - MANY TIMES, MANY WAYS: A HOLIDAY COLLECTION

Justin Time Records vocalist Halie Loren's holiday album Many Times, Many Ways: A Holiday Collection is being re-launched this holiday season four years after its initial release in 2008. Loren's sultry vocals on Many Times, Many Ways are matched by the warm and balanced stylings ofMatt Treder on piano. In duo, Loren and Treder create an intimate portrait of the season with nine old and new classics such as "The Christmas Song" and "Have Yourself A Merry Little Christmas," interwoven with sassy arrangements of "Santa Baby" and "Winter Wonderland." Many Times, Many Ways also features two original instrumental compositions by Treder, "From the Mouths of Babes," and "Sugar Cookies." "Music is such a huge part of my holiday experience--it is one of the most nostalgic elements of that time of year," says Loren. "Continuing that tradition is a joy for me to be a part of. Recording the album arrangements with the simplicity of piano and voice in duet was reminiscent of sitting around the living room piano on Christmas Eve, singing songs we've known and loved our whole lives." Evocative and joyous, Many Times, Many Ways achieves, as one reviewer noted, "a jazz-infused cycle of popular and rare holiday numbers that are rendered with a torchy romanticism that just begs for hot toddies and cedar logs roaring in the fireplace."

ELVIN JONES – AND THEN AGAIN

A sweet early date as a leader from Elvin Jones – one that has him working strongly away from a John Coltrane setting, with some hip arrangements by Melba Liston! Elvin brings in some excellent accompaniment from two other Joneses as well – Thad on cornet and Hank on piano – both of whom show their modernist tendencies more strongly here than in other work from the time – and the group also features great work from Charles Davis on baritone, Hunt Peters on trombone, and Frank Wess on flute and tenor sax! Most of the tracks on the album – such as "Azan", "Elvin Elpus", and "All Deliberate Speed" – are tightly snapping Melba Liston arrangements with a good mix of bop and modernist ideas, but one track – "And Then Again" – is a very nice improvised piece by the group. ~ Dusty Groove

LEO WRIGHT – SUDDENLY THE BLUES

A record of incredible beauty from the great Leo Wright – and one that we'd never part with at all! Wright's one of those excellent players from the 60s who never really gets his due – largely because he was always hiding behind larger groups, and because he left the US in the decade for an extended stint in Europe. Still he cut some fantastic early work with both Dizzy Gillespie and Lalo Schifrin – and this album captures him right during the peak of that early period! The record features light lively backing from a quartet that includes Kenny Burrell on guitar, Ron Carter on bass, and Rudy Collins on drums – and some tracks have a beautifully groovy sound that's slightly bossa, slightly soul jazz. One of the best of these is Wright's great cover of "A Felicidade", but the record contains many other great moments, like "The Wiggler", "Tali", "Sassy Lady", and "Dionysis". ~ Dusty Groove

ERIC DIVITO - BREAKING THE ICE

In the midst of a busy career as working musician and educator, New York guitarist/composer Eric DiVito has finally carved out the time to make his recording debut as a leader. Breaking the Ice, a quartet date co-produced by DiVito with Portland pianist/arranger Ezra Weiss and veteran jazz producer/promoter Todd Barkan, will be released on the Canadian Pioneer Jazz Collective (PJC) label on October 2.

"One of the most totally unexpected and pleasant surprises of my last 30 years of jazz production has been the constant smile to be regularly experienced in Eric's consistently uplifting compositions, arranging, and guitar playing," says Barkan.

The 31-year-old Long Island native chose to feature his original compositions with trio or quartet comprised of tenor and soprano saxophonist Jake Saslow, a friend and colleague since high school days; acoustic bassist Corcoran Holt alternating with Motohito Fukushima on electric; and Israeli-born drummer Nadav Snir-Zelniker. DiVito's solo performance of "Time Remembered," the Bill Evans classic and the album's only nonoriginal, is played classical-style on a nylon-string guitar.

Throughout, DiVito draws on his command of both jazz and classical guitar styles, as well as on his interests in jazz and pop composition, to create a wonderfully varied program-from the "dizzy, hectic feel" of the opener "Like Minded," to the ballads "For Maria" (written for his wife of five years) and "Her and Hymn" (partially inspired by Joni Mitchell), to the gently swinging "Pass' Time" (for Joe Pass, one of his heroes) and high-energy "Shoot the Messenger" (for Art Blakey).

The mysterious "Tango" is a quartet number, with Saslow on tenor. "Being a classical guitarist," DiVito says, "there's a lot of tangos and Latin music in my repertoire. I thought it would be a nice contrast to some of the more straight-ahead or pop kinda tunes."

Growing up in Northport, NY, Eric DiVito played percussion instruments in his elementary school orchestra and concert band and "learned to read music first as a percussionist," he recalls. He took up guitar in middle school. Although he had an early interest in Jimi Hendrix and Guns N' Roses, jazz guitarists were his primary inspiration, particularly Jim Hall, Pat Metheny, and Joe Pass. He also cites Jack Wilkins and Paul Bollenback, both of whom he studied with, as later influences, and he counts Julian Bream among his classical guitar favorites.

"I gravitated towards jazz on the guitar because it allowed for what I felt was more creativity and improvisation," DiVito says. Joni Mitchell, Wayne Shorter, and Maria Schneider stand out among his favorite composers. "They take you on a journey," he explains. "Those composers in particular almost transcend genres. That's a quality I like to strive for in my compositions." The guitarist began playing professionally while still in high school at restaurants, bars, weddings, and other private affairs, sometimes solo, other times in combos with classmate Jake Saslow. DiVito still does solo jazz and classical gigs, often mixing the works of J.S. Bach and other Baroque composers, Spanish and Brazilian guitar music, jazz, and "stuff in between."

DiVito majored in classical guitar and music education and minored in jazz at the Crane School of Music in Potsdam, NY, from which he received a B.M. in guitar performance and music education. At the Aaron Copland School of Music at Queens College, where he earned an M.A. in jazz performance, his instructors included Bollenback, saxophonist Antonio Hart, and trumpeter Michael Philip Mossman.

The guitarist has been living in Queens since completing his education there. For the past six years, he's been the music teacher at Castle Middle School on the Lower East Side of Manhattan, where he created a curriculum that includes general music, music appreciation, theory, band, concert band, chamber ensemble, and guitar. And, when he has the time, he teaches guitar privately in the evenings and on weekends. Besides solo guitar engagements, he has performed with his own combos at such leading New York jazz establishments as the Iridium, Smalls, Miles' Café, the Garage, Puppet's Jazz Bar, and Tutuma Social Club. And every month or so, he leads a Red Hot Chili Peppers tribute band called PepperSpray.

"It's a balancing act," DiVito says of his career. "Sometimes things get too busy, and I don't gig as much as I want to or I can't have as many private students as I want. I'm always trying to juggle."

With Breaking the Ice, Eric DiVito is finally breaking out beyond the New York City club circuit and stepping onto the world stage. "I've been blessed since moving to New York City to be able to regularly work with some of the greatest musicians," says DiVito. "It is their talent and skill that help push me forward both creatively and technically and that make me want to be a better musician. It is both humbling and extremely rewarding."

www.ericdivito.com

JUSTIN TIME RELEASES NEW COMPILATION 'HAVE YOURSELF A MERRY LITTLE CHRISTMAS' FEATURING DIANA KRALL & OTHERS

Known for their eclectic yet well-balanced mix of classic and new tracks recorded between 1993 and 2011, Justin Time Records delivers a Christmas compilation that shows the breadth of talent and cohesion of various artists on the label, both legacy and rising. Have Yourself a Merry Little Christmas unites the label's artists together through a collection of key tracks recorded and compiled into one Christmas album bound to stand out in any collection. Highlights from Have Yourself a Merry Little Christmas include standards like GRAMMY® and Juno award-winning vocalist and pianist Diana Krall's sensual arrangement of "The Christmas Song," juxtaposed with jazz piano legend Hank Jones' warm instrumental interpretation of the same tune leaves one with the best of both worlds. Ranee Lee and Oliver Jones create a perfect harmonic symbiosis on their soulful vocal and piano arrangement of "A Christmas Day."

Whether settling in to a winter evening with vocalist Hilary Kole's previously unreleased "Let It Snow," or beating the winter blues to the Montreal Jubilation Gospel Choir's rhythmic "Christmas Calypso Medley," the harmony created between the artists on this compilation will have listeners singing and swinging right along.

Christmas standards such as Krall's "Jingle Bells" and Jones' "It Came Upon a Midnight Clear," recorded by Justin Time Records legacy artists, are complemented by up-and-coming unprecedented artists such as vocalist Coral Egan's "You're A Mean One Mr. Grinch," pianist Taurey Butler's debut instrumental arrangement of "Little Drummer Boy," and Rob McConnell Tentet's "The Christmas Medley." Quartango's classic instrumental medley "Minuit Chrétien/O Holy Night" and vocalist Johanne Blouin's "Mon Beau Sapin," a French interpretation of "O Christmas Tree," will take listeners on an international musical journey before settling into the comfort of Kole's title track, "Have Yourself A Merry Little Christmas."

THAT'S WHY - THE BEST OF THAT'S WHY

Jazzman Records present the greatly anticipated ‘best of’ album from Norwegian xian, acid psych, folk jazz group That’s Why. The Best Of That’s Why is set for release on 1 October on vinyl, CD and digital download.

In the '60s and '70s churches throughout Europe had serious competition for the attention of its younger members. The ecclesiastical establishment was shocked to hear teenagers expressing 'Sympathy for the Devil' rather than sympathy for Christ and his teachings. In Norway at this time the same situation was prevalent as was happening across Europe; teenagers were turning their back on the church and embracing the temptations and pleasures of the flourishing new pop culture. Priest Olaf Hillestad was all too aware of what was going on, and instead of relying on the floundering traditional methods of rounding up his flock, he embraced the musical aspirations of his younger followers. In so doing he founded the Forum Experimentale in Oslo, an organisation that promised in its statutes to "boldly work for a renewal in service life, church music and church art".

It was at Forum Experimentale in the late '60s where That's Why founder members Jan Simonsen and Per Arne Løvold became responsible for the jazz masses at Forum Experimentale's chapel. Together with some top-notch musicians from other Christian music centres around the Oslo district, they recorded two albums in 1970 and 1971 under the moniker That's Why. That's Why blended deep acoustic and electric jazz with elements of Norwegian folklore and Christianity. They also included interpretations of young and old transcendental Norwegian poets such as Sidsel Mørck Krogdahl, Alfred Hauge and Aslaug Vaa, as well as introducing English and Swedish songwriters such as Åke Rosenstrøm and Charles Wesley, and even William Blake's ‘Children Of The Future Age’ into the mix. This highly original fusion of secular rhythmic music, jazz improvisation and a distinguished selection of transcendental lyrics is one of the standout qualities of That's Why, separating them from more programme-orientated Christian music. The unique mix leads the listener to think they are hearing among the record grooves the tightness of grey, sober Protestantism along with the ecstasy of a lay preacher.

Tracklisting:
01. Children Of The Future Age
02. Vem Kan Sagla
03. Tiden
04. Mattheus 25
05. Den Oppstadne
06. Dyp Av Nade
07. Udoyeleg
08. Gud Skylden Er Var Alene
09. Noe Annet
10. Kristus Du Gjor Allting Nytt

WELDON IRVINE – THE RCA YEARS: COSMIC VORTEX / SINBAD / SPIRIT MAN

Massive music from the legendary Weldon Irvine – three albums in a single set! Cosmic Vortex is a genius bit of work from the legendary Irvine – a mightily righteous effort that more than lives up to its heady title and cover! Keyboards are very much at the forefront of his sound – played with that heavily vamping left hand that makes his work so funky – but there's also a focus on lyrics here too – sung by Weldon with support form singers Ojuleba & Nalo, in a way that creates a righteous "many voiced" mode on the lyrical tracks! Titles include excellent track "Walk That Walk, Talk that Talk", plus other great ones like "Love Your Brother", "Let Yourself Be Free", "Quiet", "I'll Name It Tomorrow", and "Love Jones".

Sinbad features the debut of the legendary Don Blackman! Irvine's still very much in charge of the session, but Blackman's emerging here with the strength that would show up on his later soul sessions – singing lead vocals on some of the best cuts on the record, and also playing acoustic piano next to Weldon's bank of electric keys. Tunes are nicely varied throughout – returning to the exploratory nature of some of Irvine's earlier records – and there's even some great mellower numbers that are some of our favorite tracks on the set – including the sublime stepper "I Love You", the gently spacey "Music Is The Key", and a sweet instrumental cover of "What's Going On". Other tracks include "Sinbad", "Don't You Worry Bout A Thing", "Do Something For Yourself", and "Here's Where I Came In".

Spirit Man is massively funky work from the mighty Weldon Irvine – sublimely cosmic and filled with soul throughout! The vibe here is a bit more focused than on some of Weldon's earlier albums – a moody blend of electric keys, heavy percussion, and some slight bits of jazzy solo work by trumpeters Charles Sullivan and Everett Blood Hollins, and saxophonist Sonny Fortune – both players who really help the album find some soulful structure! The album's all-instrumental, and has Weldon really taking off on the keyboards – not just using them for main solos, but also dropping in cool noisy bits and analogue effects that really sound great – almost out-Herbieing Herbie Hcock for the record, and turning in some of his biggest classics on wax! Titles include the massive sample cut "We Gettin' Down", plus "Jungle Juice", "Blast Off", "Softly", "Power & The Glory", "Yasmin", and "Pogo Stick".

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

NEW RELEASES HAROLD MABERN, BARNEY KESSEL, THE CHICO HAMILTON QUINTET

HAROLD MABEM – MR. LUCKY: A TRIBUTE TO SAMMY DAVIS, JR.

A tribute the great Sammy Davis Jr – but a record that stands equally well as a tribute to the rich musical partnership between pianist Harold Mabern and tenorist Eric Alexander! The pair together have this bright, sparkling sound that never fails to please us – and it's one that's just perfect for this set of tunes from the Sammy D songbook – the kind of upbeat, positive numbers that really set him apart from other singers of his generation – handled here by Mabern and Alexander with a definite soulful swing! Of course, the remaining group members also help things move nicely – bassist John Webber and drummer Joe Farnsworth – both of whom are frequent partners of Mabern and Eric. Titles include "The People Tree", "Hey There", "As Long As She Needs Me", "I've Gotta Be Me", "Mr Lucky", and "Night Song". ~ Dusty Groove

BARNEY KESSEL – BOSSA NOVA

Barney Kessel in a really great style – a mode you won't normally hear on other albums of the time – but which really turns out to be a treat! As you'd guess from the title, the album's got a definite bossa nova influence – one that mixes Barney's sweet guitar lines with bigger backings from Bob Florence and Chuck Sagle – both of whom use lots of percussion and lively rhythms to "bossa-fy" a set of familiar numbers from the American past! The approach is great – as groovy as it is charming –a nd titles include "A String Of Pearls", "They Can't Take That Away From Me", "Summertime", "Muscrat Ramble", "It Ain't Necessarily So", "Jada", and "Bye Bye Blues". ~ Dusty Groove

THE CHICO HAMILTON QUINTET – DIFFERENT JOURNEY

Different is right – as this obscure early 60s side shows Chico Hamilton really opening up, moving past the modern chamber style of the late 50s, into the freer modal rhythms that characterized his incredible work of the 60s! The group's the beginning of that sound too – with Charles Lloyd on tenor and flute, Gabor Szabo on guitar, and Albert Stinson on bass – joined by George Bohannon on trombone, who slides around the grooves to expand the bottom of the album's sound nicely! The album's perhaps not as "eastern" as some of Hamilton's mid 60s work – but the roots of that sound are definitely there, with stretched out tracks that really show some great writing and playing working together! Titles include "Voice In The Night", "A Different Journey", "The Vulture", "One Sheridan Square", and "Sun Yen Sen". ~ Dusty Groove

NEW RELEASES - STEVE MARCUS, BROTHER JACK McDUFF, KENNY CLARKE & FRANCY BOLAND

STEVE MARCUS – COUNT’S ROCK BAND


Sweet saxy grooves from reedman Steve Marcus – working here in a psychedelic approach to funky jazz! The album's easily one of Steve's greatest moments – and has Marcus playing both acoustic and electric saxes, in a lineup that also includes funky guitar from Larry Coryell, piano and harpsichord from Mike Nock, bass from Chris Hills, drums from Bob Moses, and even a bit of accordion from Dominic Cortese! The sound is definitely jazz, but there's plenty of influence from the rock side of the spectrum – yet never in a too-jamming rock fusion mode – always with the same sort of soulful, funky feel you'd get on records from the time by Tom Scott. Titles include "C'Est Ca", "Theresa's Blues", "Scarborough Fair", "Ooh Baby", and "Back Street Girl". ~ Dusty Groove

BROTHER JACK McDUFF – CHANGE IS GONNA COME

A sweet Atlantic soul groover from Brother Jack McDuff – and a set that has him tightening up his Hammond sound from his earlier years at Prestige Records! The tunes here are short and punched-up – almost instrumental soul numbers in their construction, but still filled with plenty of jazz – thanks to Jack's mad solos on organ, and some killer drums from Joe Dukes and Bernard Purdie! Other players include George Coleman on tenor, Cornell Dupree on guitar, and Buddy Lucas on baritone sax – and arrangements are by JJ Jackson and Jack himself. Titles include "Hotcha", "Down In the Valley", "Same Old Same Old", "No Tears", "What'd I Say", "Gonna Hang Me Up A Sign", and "Minha Saudade". ~ Dusty Groove

KENNY CLARKE & FRANCY BOLAND – JAZZ IS UNIVERSAL

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook". ~ Dusty Groove

NEW RELEASES - LES McCANN, MODERN JAZZ QUARTET, HERBIE HANCOCK

LES McCANN – MUCH LES

A groovy set of late 60s soul jazz piano tunes – played by Les McCann in a swinging style that pre-dates his 70s funk work – and which also features him playing in a strictly instrumental setting! The core of the material is by Les' trio with Leroy Vinnegar on bass – but most tracks feature an expanded sound, either by adding Willie Bobo and Victor Pantoja on Latin percussion, or by backing the group with off-beat arrangements by the great William Fischer, whose talents had graced some of the best Atlantic jazz albums at the time! Titles include "Burnin Coal", "Doin That Thing", "Roberta", and a groovy version of "Love For Sale". ~ Dusty Groove

MODERN JAZZ QUARTET – LONELY WOMAN

Truly one of the Modern Jazz Quartet's greatest albums – and a set that has an edge and a darkness that's missing from some of their other Atlantic records! Part of the reason for this may be the group's fantastic reading of Ornette Coleman's "Lonely Woman" – a killer moody track that sounds great in the group's vibes/piano style – and which leads off the album with a chilling tone that's really unbelievable! The rest of the album's pretty great too – and there's a brooding intensity we don't normally hear in the piano of John Lewis and vibes of Milt Jackson. Other tracks include Gary McFarland's "Why Are You Blue" – plus John Lewi's "Belkis", "Animal Dance", "New York 19", and "Trieste". ~ Dusty Groove

HERBIE HANCOCK – FAT ALBERT ROTUNDA

The start of funky funky Herbie Hancock! This album's the first to feature Herbie really breaking away from his straight jazz work – moving into a groove that's nice and funky, using electric piano along with acoustic, to forge the sound that he'd develop famously over the 70s. The album's got a harder, heavier sound than some of his straight electric ones – and it features a larger group with soloists that include Johnny Coles on trumpet and Joe Henderson on tenor – plus some sweet basslines from Buster Williams – all led by Herbie into a tight soul jazz flurry of excellent tracks! Includes the cuts "Fat Mama" and "Wiggle Waggle", both sample favorites, plus "Tell Me A Bedtime Story" and "Lil Brother". Classic stuff, and one of his best records ever! ~ Dusty Groove

BLUE NOTE RECORDS LAUNCHES INNOVATIVE NEW SPOTIFY APP

EMI Music’s legendary Blue Note Records has announced the launch today of an innovative new app within the popular online music streaming service Spotify. The Blue Note app provides a rich user experience by creating a space to explore and discover music spanning the entire history of the label from 1939 to present. Download the app here: http://open.spotify.com/app/bluenote

The Blue Note app traces the label’s evolution from the early jazz of Sidney Bechet to the trailblazing bebop of Thelonious Monk, from Art Blakey’s quintessential hardbop thru Ornette Coleman’s avant-garde flights, from Jimmy Smith’s grinding organ soul jazz leading to Donald Byrd’s funky R&B fusion and on into today’s modern explorations such as Robert Glasper’s unique blend of jazz with hip hop, and beyond. The app’s design and functionality allow the listener to discover by performer, album, style, instrument or year, providing several easy entry points into the music for jazz novices, as well as the ability for jazz aficionados to dive deep into Blue Note’s unrivaled catalog. The app also incorporates Spotify’s trademark social features such as building playlists and sharing favorite tracks with friends.

“In the great tradition of Blue Note Records, our new Spotify app pushes the boundaries of the digital listening experience,” said Don Was, President of Blue Note Records. “Catering to both the educated aficionado and new fans alike, this innovative interface provides music fans with a clean, user-friendly doorway to hours of discovery and musical gratification.”

"Blue Note is virtually synonymous with jazz music and their new app is a great example of music experts taking advantage of the Spotify platform to foster deep music discovery and appreciation," said Steve Savoca, Head of Content, Spotify. "Our passionate users now have a curated experience to guide them through the vast amount of jazz music on Spotify."

KEY FEATURES:

TIMELINE – Explore the Blue Note catalog chronologically from the label’s very first recording session with boogie woogie pianists Albert Ammons and Meade Lux Lewis in 1939 to the most recent album, Heritage by African jazz guitarist Lionel Loueke, which was released last month. The app features every Blue Note title available in Spotify. Diversions abound with each album page connecting to the artist pages of the leader and sidemen on the session allowing the user to find their own way down an endless path of discovery with full-album streaming available at every turn.

FILTER – Explore the catalog by musical style, era or even by instrument. The Artists and Blue Note 101 sections offer a filter to help guide the user through the label’s different styles of music: Tradition (Thelonious Monk, Jason Moran), Groove (Lou Donaldson, Robert Glasper) and Voices (Dianne Reeves, Norah Jones).

BLUE BREAK BEATS – Blue Note partnered with the website Who Sampled to take the user on a tour of music that contains samples from the Blue Note catalog, placing the original versions alongside the sampled versions by artists such as Beastie Boys, Chemical Brothers, Common, Madonna, The Roots, A Tribe Called Quest, Usher, and Wu-Tang Clan.

SHOP – Peruse Blue Note merchandise that riffs off of the label’s influential visual style, including t-shirts, sweatshirts, hats, bags, and more.

ABOUT SPOTIFY:
Spotify is an award-winning digital music service that gives you on-demand access to over 18 million songs, wherever you are. Spotify makes it easier than ever to discover, manage and share music with your friends, while making sure that artists get paid. Since its launch in Sweden in 2008, Spotify has become the largest and most successful music service of its kind, with over 15 million active users and over 4 million paying subscribers. Spotify is now available in fifteen countries around the world: USA, UK, Sweden, Finland, Norway, Denmark, Germany, France, Spain, Austria, Belgium, Switzerland, The Netherlands, Australia and New Zealand. For more information on Spotify, visitwww.spotify.com.

:::: SOURCE: Blue Note Records ::::