JAZZ FM FUNKY SENSATION 3 – MORE JAZZ, FUNK & SOUL CLASSICS (VARIOUS ARTISTS)

More Jazz and Funk Soul Classics Including Roy Ayers, Atlantic Starr, Rick James, Howard Johnson, Teena Marie, Shalamar, Jackson Sisters, Willie Hutch

A warm, easygoing and sprawling 2CD set from the Expansion and Jazz FM team – the third and best yet in their Funky Sensation series – with both hits and relatively underappreciated numbers! It's wonderful stuff all the way – and well chosen by Mike Vitti & Ralph Tee – with full-length treasures by Roy Ayers, Rick James, Cameo, Rene & Angela, Willie Hutch, Dazz Band, Charles Earland, Teen Marie and The Gap Band to name but a few. What we love about the Funky Sensation series is the sort of informal, unfussy vibe. It's not so much about shining a lot on particular labels, producers or well-defined scene – and very much about simply putting together some sensationally funky, jazzy and soulful music, nearly all of it from the mid 70s to early 80s, together in a generous double-sized set! 26 tracks on 2CDs – and over 150 minutes of music. Includes "Running Away" by Roy Ayers, "Circles" by Atlantic Starr, "Now That We Found Love" by Third World, "So Fine" by Howard Johnson, "Man Power" by Lalomie Washburn, "I Believe In Miracles" by The Jackson Sisters, "I Need Your Lovin'" by Teena Marie, "I'l Be Good" by Rene & Angela, "Get It Up For Love" by Tata Vega, "Outstanding" by The Gap Band, "Let The Music Play" by Charles Earland and many more. ~ Dusty Groove

KEN GREVES - VINTAGE & RARE: THE SONGS OF HAROLD ARLEN VOL 1

Ken Greves is a passionate interpreter of the Great American Songbook and a specialist in the music of Harold Arlen.

“Arlen’s music resonates profoundly with my musical sensibilities,” says Ken. “Arlen considered himself a jazz composer and wanted to be a vocalist himself. He was unique in that he was unafraid to break out of the standard 32-bar form.”

Another important influence on Ken was the voice of Judy Garland. “My fascination with Garland was her uncanny ability to musically shape a song while acting and telling a story. She demonstrated that a song has a beginning, middle and end.”

Ken grew up in Nassau County, on the south shore of Long Island, NY. Neither of his parents were musicians, but they noted early on their son’s fascination with music, theater, and dance.

“My earliest memories were when I was three” recalls Ken. “My mother told me that I used to dance in front of the TV, mesmerized by the sound of Kate Smith singing, ‘When the Moon Comes Over the Mountain.’”

Classically trained as a dancer and actor as well as a singer, Ken performed in a national tour of Singing in the Rain, played Billy Lawlor in 42nd Street, appeared as Luther Billis in South Pacific, and played opposite Nancy Kulp in an English murder mystery comedy. He sang with the Barry Levitt Trio at Iridium and at Birdland with Jim Caruso’s “Cast Party.”

Ken Greves made his solo debut as a vocalist in April 2000 at Don’t Tell Mama with his program, “Who the Hell Is Harold Arlen?!” Shortly thereafter, he encountered Trudi Mann and her open jazz mic — really an artists’ salon — and immersed himself in the world of jazz.

“I found that world stimulating in a very different way from my classical and theatrical roots,” he says.

In April 2006, Ken launched a new Arlen program, “Last Night When We Were Young — Aspects of Arlen,” at Danny’s Skylight Room in New York City. Accompanied by the Tedd Firth quartet, this popular show comprises songs both well-known and rare, from Broadway, Hollywood and Tin Pan Alley, and explores the many facets of Arlen’s extraordinary contribution to the Great American Songbook.

In December 2010, Ken released his debut CD, The Face of My Love, at the Metropolitan Room. It starts and ends with a dream and in between is a story as old as time, yet as fresh as tomorrow. Love sought, love found, love doubted, love lost – told in a cycle of song, reminiscent of the classic albums of the past. And yet the sound is as modern as the latest jazz releases.

".... It is the sympathetic manner in which vocalist and pianist dance to each other's tunes that makes this artistic relationship a memorable one. In this regard, Hanley and Greves recall the wonderful partnership between Kurt Elling and Laurence Hobgood." Raul d’Gama Rose, CD Editor - All About Jazz

Ken released his second CD, the first volume in the Arlen project, entitled Vintage & Rare: The Songs of Harold Arlen, which explores both the familiar and the little known compositions by the great Harold Arlen in a trio setting. The musicians on this project are Wells Hanley, piano; Peter Donovan, bass; and Jacob Melchior, drums. "Producing this CD and singing vocals on it was a bit of a roller coaster ride; but, with these fine musicians backing me and the Arlen tunes driving me, it was a joyous trip!" says Greves. Upcoming shows will be in November on the 9th and 11th at The Laurie Beechman Theater, 407 West 42nd Street in New York City.

Late 2013, Ken anticipates releasing Night People: a CD of tunes recalling the classic 50's concept albums on Capitol; a collection of song-stylings for the midnight to six AM crowd, capturing the sophistication, wit and heartbreak of that faraway world.

http://www.kengreves.com/

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

DENNIS ANGEL - TIMELESS GROOVES

The Jason Miles-produced album is a jazzy R&B throwback; radio grooving to “Forever Funk”

Having successfully released more than a half dozen diverse singles that charted and received radio spins around the globe, trumpeter Dennis Angel will release his debut album, the vintage sounding Timeless Grooves, on November 13th via Timeless Grooves Records. Angel wrote eight songs for the varied 10-track set produced by keyboardist Jason Miles (Marcus Miller, Miles Davis, Whitney Houston, Luther Vandross) that brings something refreshing and unique to the contemporary jazz scene.

Angel has a way of gracefully emoting pristine pop melodies from his horn over the type of laidback grooves that bring to mind jazz-funk hits from the ‘60s and ‘70s. After experimenting and dabbling in a wide array of straight-ahead and contemporary jazz, hip hop, R&B and pop to construct an eclectic variety of instrumental and vocal singles, Angel knew he needed a producer to curate the sound for his first album. Enter Miles, who gave Angel the freedom to create and encouraged the trumpeter to also play flugelhorn on the set. Giving the well-crafted material a distinctive R&B edge, Miles (keyboards, synth bass, percussion) recruited “some of the very best players in the studio to play live” including guitarists Romero Lubambo, Nick Moroch, Dean Brown, and Will Bernard, bassist Amanda Ruzza, and drummer Brian Dunne. Joel Mofsenson plays acoustic piano on the vocal tracks and arranged two of the compositions. Long-time Angel collaborator Gottfried Stoger plays saxophones and deftly arranged the remaining compositions based on the classic American form.

While Angel and Miles toiled away in the studio in the spring and summer on Timeless Grooves, the single “Rio On My Mind” was released as an appetizer. Radio stations instantly embraced the idyllic soul-infused fiesta spotlighting Angel’s flugelhorn and classy acoustic guitar licks from Lubambo. As a follow-up, the groovy “Forever Funk,” on which Angel and Stoger engage in a Soul Train line-like trumpet and sax strut, was just serviced as a single. Angel’s 16 year-old daughter, Rebecca Angel, delivered a heartfelt vocal performance on the empowering “A Song In Harmony,” co-written by the pair. One of two covers, The Beatles’ “Norwegian Wood” receives a beautiful 3/4-time treatment with elegant etchings courtesy of Angel’s flugelhorn and Lubambo’s acoustic guitar along with a sterling performance by Stoger on soprano sax. Flugelhorn and tenor sax top the marquee on the leisurely paced “Vegas Vibe,” which bodes to become a radio favorite. Charismatic baritone vocalist DeForest Raphael pledges allegiance on the patriotic “I Did All This” and is featured on the clever bebop rapper “From Bebop To Hip Hop,” the latter of which charted when released as a single in 2010.

“Releasing Timeless Grooves represents a life-long dream come true for me. After playing the trumpet my whole life, the album embodies my personal contribution to the music scene, which I believe adds something new and fresh to the contemporary jazz genre. We want to bring back some of the great trumpet and sax R&B sounds from the ‘60s and ‘70s and give it a more contemporary feel. The songs have catchy melodies that came to me during quiet times of just putting my trumpet to my lips. For me, the heart of a song is a simple yet memorable melody, which is what I tried to incorporate into each recording,” said Angel.

While in high school, Angel was trained by world renowned trumpeter William Vacchiano and had to decide between studying music at The Julliard School and pursuing a law degree. He chose law school and based his highly respected suburban New York City law practice on the motion picture industry where he works with the major studios. However, he never stopped playing his trumpet and performed at Carnegie Hall in a brass choir. In 2009, Angel wrote and recorded the witty “The Wall Street Recession Time Blues” after the market crash. This timely track garnered considerable airplay and media attention from the likes of the Boston Herald. Encouraged, Angel continued to crank out new singles, which also were welcomed at radio. Some were tongue-in-cheek numbers such as “I Need Smooth Jazz” and “Daddy, Can I Drive Your Car?” while others displayed the true talent behind the soulful grooves (“Dizzy Izzy”). Collaborating with the veteran Miles elevated Angel’s recordings to the next level. Energized, he is looking forward to performing music from “Timeless Grooves” in a concert setting.

Angel’s “Timeless Grooves” contains the following songs:
“Forever Funk”
"Vegas Vibe”
“Norwegian Wood”
“Rio On My Mind”
“A Song In Harmony”
“When Love Is In The Air”
“I Did All This”
“The Breeze”
“Can’t Help Falling In Love”
“From Bebop To Hip Hop”

www.dennisangelband.com

NEW RELEASES - THE SKINNY, TERIVER CHEUNG, PETE ZIMMER

THE SKINNY - DIG ON IT

"With Ben Paterson manning the Hammond B-3, Kyle Asche on guitar, Jake Vinsel on bass and Mike Schlick on drums, the four kindred spirits collectively known as The Skinny have come up with their own personal spin on the soul-jazz tradition. Carrying on in the spirit of Jimmy McGriff, Boogaloo Joe Jones and Grant Green, they also reveal the influences of James Brown, The Meters and Booker T & The MGs along the way. Suffice it to say, these Chicago-based groovemeisters know how to lay it down and slap some bacon fat on it.” – Bill Milkowski
   

TERIVER CHEUNG - MY NOCTURNE  

 "No matter how high the technical bar has been raised for aspiring guitarists, one simple fact remains: musicality is what matters. Teriver Cheung, age 27, has found ways to transcend a chops-centric approach and create music full of breath, space and surprise. On My Nocturne, his auspicious debut, he reveals himself as a player of great skill but also poetic sensitivity. He can do difficult, yes: his single-note lines generate heat and friction, leaping across intervals, avoiding the obvious. But it’s the lyricism, the rhythmic idiosyncrasy and above all the personal quality of his writing and improvising that makes Cheung an artist to watch.” -David R. Adler 

PETE ZIMMER - PRIME OF LIFE

 Self-reliance has been Pete Zimmer’s calling card since he relocated to New York City in 2001. And the same confidence and drive that impelled this fine drummer to establish his own label, produce his own albums, and supply the majority of his recorded repertoire also permeates "Prime of Life," Zimmer’s fifth recording as a leader. The album’s title sets the tone of certainty. "My twenties were still about the learning process, gaining knowledge and experience. With age and practice, I feel that I have the skills and focus to steer my music in the direction it needs to go," says Zimmer, who was thirty-three at the time of the recording. "Now is just the beginning." – Steve Futterman writes about jazz regularly for The New Yorker 
~ tippinrecords.com

NEW RELEASES - ALAIDE COSTA, SO SAMBA QUEM TEM, THE HURST SELECTION 2

ALAIDE COSTA - AMIGA DE VERDADE

Sublime work from Alaide Costa – a beautifully mature album from the late 80s, and one that has her working with a host of great guest help from the Milton Nascimento camp, and the jazzier side of the MPB spectrum! In addition to vocals from Milton on one cut, the set also features appearances by Rique Pantoja on keyboards, Gilson Peranzzeta on piano, Wagner Tiso on piano, Ivan Lins on vocals, Cristovao Bastos on piano, Paulinho Da Viola on vocals, Sebastiao Tapajos on guitar, and Toninho Horta on vocals and arrangements! The music is spare, but has this depth that works perfect with Alaide's rich vocals – often just a few instruments echoing out alongside Costa's lead, with the balance between fullnest and restraint that you'd find in the best recordings by Nascimento or Lins. Titles include "Absinto", "Amiga De Verdade", "Quem Sabe", "Estrada Do Sertao", "Cinema Antigo", "Mais Que A Paixao", and "Morrer De Amor". CD features two bonus tracks – "Dois Coracoes" and "Teu Simples Nao". ~ Dusty Groove

SO SAMBA QUEM TEM - VARIOUS ARTISTS

A tremendous set of 70s samba – a rare gem issued on the smaller Tapecar album, and a vivid portrait of some of the best indie talents of the genre at the time! There's a freshness here that really grabs us right away – the kind of sublime sounds that keep us digging for rare samba records over the years – a sparkling, spontaneous sort of energy that comes through in the music right away – as singers, instrumentalists, and percussionists groove together beautifully in an upbeat, soulful, joyous sort of way! Production is nice and crisp – which really preserves the energy of the music – and titles include "Alegria" by Ze Di, "Acalentava" by Candeia, "Poxa" by Gilson De Souza, "Volta Por Cima" by Noite Ilustrada, "Resto De Amor" by Vincente, "Carolina Meu Bem" by Xango Da Mangueira, and "Bloco Da Madrugada" by Noite Ilustrada. ~ Dusty Groove

THE HURST SELECTION 2 - VARIOUS ARTISTS

Here's another 12 killer songs from SoulandJazz.com Records and its captain, selector Brian Hurst. This time round it’s even more of a world flavour as music comes from Japan courtesy of Room56 and Jazz Collective, Sydney with Milan Ring, Sicily – Gabriele Poso and from all corners of the US: Boukou Groove, Maz, Michon Young, Farnell Newton, Moonchild, Temika Moore and The Ananda Project featuring Mr. Alex Lattimore. Special mention must also go to Gregory Porter whose 1960 What? gets the first proper remix from the legend that is Gerardo Frisina; historic. Top notch stuff.

JOEL BEHRMAN - STEPPIN' BACK

His All-Star Bay Area Band Includes Dayna Stephens, Matt Clark, Marcus Shelby, Howard Wiley, & Danny Armstrong

When Joel Behrman relocated to the Bay Area in 2000, the trumpeter/composer was intent on renewing his commitment to jazz. He'd completed his music degree at the University of Miami and worked a series of non-jazz gigs, in clubs and on the road, and as he continued his years of dues-paying in California he realized that, in jazz, the fundamental things apply: swing, the blues, connecting with the audience.

On his superb new debut recording, Steppin' Back, Behrman and his band express those essential jazz values in a program of elegant originals interspersed with compositions by Ellington, Armstrong, and Joe Henderson. His collaborators represent the top tier of local players: bassist Marcus Shelby, one of San Francisco's most illustrious bandleaders and composers; in-demand pianist Matt Clark; drummer Howard Wiley (better known as a saxophonist); tenor saxophonist Dayna Stephens, a Berkeley High grad who lives in New York but maintains close ties to home; and veteran trombonist Danny Armstrong, a founding member of Lavay Smith's Red Hot Skillet Lickers.

"I wanted it to be a Bay Area project exclusively," says Behrman, a San Jose resident. "There is a lot of talent here that's underexposed."

The album's centerpiece is the leader's compelling three-movement "Justice Suite" (Sin / Righteous Indignation / Evolution), written for the sextet. While conceived as a response to the current political climate, the suite is also very much an interior drama, "related to a personal struggle of someone trying to change, working through the anger," Behrman says. "That could be a metaphor for all kinds of things where it doesn't feel like justice is around."

Steppin' Back closes with "something lighthearted": "The Faithful Hussar," which Behrman learned from Louis Armstrong's Ambassador Satch. While listening to it recently with his wife, "we just started dancing to the song. Anything with that bounce needs to be heard."

Joel Behrman, 37, grew up in a St. Louis suburb and, at age 9, started on his first instrument, trombone, a horn he still plays frequently today. He went on to earn his music degree at the University of Miami, studying with world-class improvisers like Ira Sullivan (another two-horn master) and playing countless salsa gigs on the local scene. He went on the road with KC and the Sunshine Band and eventually moved to the Bay Area, where several UM friends were already living.

Behrman started playing with the New Orleans-inspired Brass the Monkey Brass Band on trumpet and trombone. He played funk with Lenny Williams, the former lead vocalist with Tower of Power; East Bay grease with Lydia Pense and Cold Blood, another vintage soul/R&B combo; and New Jack Swing with Tony! Toni! Toné! -- all gigs that required him to hone his trumpet chops and really develop his technique. But the most important gig was joining swing/blues vocalist Lavay Smith and her Red Hot Skillet Lickers.

"That was a life-changing experience, getting introduced to genuine swing," Behrman says. "There was a standard you had to live up to, being able to swing and play the blues. It really shaped certain opinions and philosophies in my mind."

These days Behrman is touring internationally with percussion star Sheila E., and also performing widely with her father, the Latin jazz great Pete Escovedo. He still gets gigs as a trombonist, but the trumpet has increasingly become his primary creative vehicle, to the point where he didn't think twice about playing the horn exclusively on Steppin' Back.

Behrman's immediate goal is to find opportunities to perform with his sextet. "I couldn't have hoped for a better assembly of musicians," says the trumpeter. "They really understand what I'm trying to accomplish on this project."

www.joelbehrman.com

DOUBLE YELLOW - LIFE IN THE SLOW LANE

Dave "Double Yellow" Lilley, vocalist and multi-instrumentalist, is a long-term collaborator with Diesler (AKA Jonathan Radford). With completely different approaches towards making music, and after many late night muso-chats, Dave Lilley and Jonathan Radford embarked on numerous collaborations that formed the backbone of most of Diesler's album outputs. Together they wrote much of Diesler's best-selling 2006 album, Keepie Uppies, which was shortlisted for Best Album in Gilles Peterson's Worldwide Awards for Radio 1 and received global exposure. And now the two are responsible for the Double Yellow album combining ingredients from a rich and deep larder of Barrelhouse Honky Tonk, Club Funk, Dixieland Jazz-Stomp, Swing, Rock, Reggae, Indie and Latin flavours.

Tracks from the new album have already received airplay from Gilles Peterson on BBC 6 Music, Radio 2 and his Worldwide Mixtape, plus Jazz FM, Samurai FM and more. The Double Yellow EP, We Got Caught, received shining reviews including a 9/10 rating from Blues & Soul Magazine. On top of this, Double Yellow have also received support from the likes of Kev Beadle, Chris Philips and Mike Chadwick on Jazz FM, Simon Harrison at Basic Soul and Red Rack'em from Smugglers Inn Radio - to name a handful.

Life In The Slow Lane is formed from many styles, sounds and influences, and also includes a Dixie Jazz-leaning cover of 'No One Knows' by Queens Of The Stone Age - which has seen love already from Jazz FM and Samurai FM. The album marries the light and organic, with the intricate and deep - cruising from dance-floor ditties to exquisitely produced contemporary productions. A real treasure trove of audible delights, with tracks to appease and excite fans of multiple genres and disciplines.

MARY WELLS - THE COMPLETE 20TH CENTURY RECORDINGS: MARY / LOVE SONGS TO THE BEATLES

A pair of lost classics – back to back in a single set, with bonus tracks too! First up is the self-titled Mary Wells album – non-Motown magic from Wells – a killer 60s album that really lives up to her previous promise! The scope is a bit wider here than before – and Mary's wonderful throughout, sticking closely in that classic blend of class and soul that made her one of the first standout stars of Motown – moving in equally great company here with studio help from Carl Davis, Riley Hampton, and Andre Williams! The tunes have a sweet midtempo groove – almost a bit of early Detroit into Chicago mid 60s soul – and titles include "Never Never Leave Me", "Use Your Head", "My Mind's Made Up", "Why Don't You Let Yourself Go", and "We're Just Two Of A Kind".

Love Songs To The Beatles is even more compelling – the best of the 60s genre! Sure, Esther Phillips and a few other 60s soul singers were recording Beatles tracks – but Mary Wells was the real deal, as she even had the support of the group itself, who made it known that she was one of their favorite American soul artists. This nice album on 20th Century features an all-Beatles set of tracks – with titles like "I Should Have Known Better", "Do You Want To Know A Secret", "Yesterday", "And I Love Him", and "Ticket To Ride". The arrangements are all uptown soul, and give the songs a more sophisticated sound than the original recordings. A record we don't see that often, and a nice lost gem! Bonus tracks include "Jive Guy", "I'm Learnin", "I'm Sorry", "Say What You Gotta Say", and "Memories Are Creepin Up On Me". ~ Dusty Groove

NEW RELEASES - JORDAN YOUNG, AKRON, FREDRIK NORDSTROM

JORDAN YOUNG - CYMBAL MELODIES

Somebody's knocked the cymbal off Jordan Young's drum kit – at least for the photo on the cover – but that doesn't stop him from swinging wonderfully throughout – leading a tight quartet through a wicked set of Hammond-heavy groovers! Brian Charette's on organ – playing with this bold, chunky style that's loaded with soul right from the start – and the kind of blocked-out lines that we love in early work from Charles Earland – all to make a perfect groove from the group which also includes Avi Rothbard on guitar and Joe Sucato on tenor. The lack of bass is more than made up for by Charette's bottom sounds on the Hammond – and titles include "Free Wheelin", "Ghost Of A Chance", "Roxanne", "Grantstand", "Easy Living", "Bird Bath", and "Mood For McCann". ~ Dusty Groove

AKRON - VOYAGE OF EXPLANATION

A contemporary take on the sounds of mid-Century – a very cool batch of tracks that leans heavily on 50s exotica, 60s electronica, and lots of other odd bits – all filtered together in cool production with a really playful feel! The set's somewhere between some of the older retro sounds on the Irma La Douce label, and some of the colder work in recent years by groups who've been inspired by Italian crime and horror soundtracks – although Akron's work is a bit warmer overall. Titles include "Rabbits In Orbit", "A Glimpse Of Hell", "Frog War Chant", "Robot Grind", "Memory Hole", and "Picabu". ~ Dusty Groove

FREDRIK NORDSTROM - STRING

The "string" here is a reference to the album's strong use of violin, viola, cello, and bass – a surprisingly wonderful setting for the sharp-edged alto lines of leader Fredrik Nordstrom! The album's one of the most compelling so far from Fred – and that's saying a lot, because we've already loved his other records – a date that has Nordstrom sounding even more fluid and angularly inventive than ever – yet juxtaposed against a quintet that features drums and the four other stringed instruments mentioned above. Titles include "Toy Music", "Birki", "What Now", "Gunter's", "Doghouse", "Stinko", and "Sorti". Bass is particularly nice – held down by Torbjorn Zetterberg, in that wonderfully rich manner that makes his contribution to any record an instant plus in our book – and which here provides a bottom sound that allows for even more interplay between the strings. ~ Dusty Groove

NEW RELEASES - SYREETA, THE THREE DEGREES, ARCHIE BELL & THE DRELLS

SYREETA - ONE TO ONE

An amazing little record from the lovely Syreeta – our favorite album from the singer, next to her seminal debut – and a soaring set that's put together with sublime production from Leon Ware! Leon grooves things up a bit more than before – which really helps Syreeta's amazing vocals take off strongly, and still hit the spacey heights of her previous work with Stevie Wonder! Ware's right at the top of his game – with killer grooves that rival his work for Marvin Gaye on I Want You, or his own Musical Massage album for Motown – and at some level, we'd easily rank this one up there as part of that heavenly 70s trilogy for the label. There's some sweet electric bits that work perfectly for Syreeta – and titles include "Don't Cry", "Harmour Love", "I Don't Know", "Rest Yourself", "One To One", and "Tiki Tiki Donga". ~ Dusty Groove

THE THREE DEGREES - MAYBE / SO MUCH LOVE

A killer package – two full albums, plus bonus tracks too! First up is Maybe – amazing early work from the Three Degrees – tracks cut before their more famous disco years in the 70s – but already showing a whole new approach to girl group soul! At some level, the trio take off strongly from the best late 60s styles of The Supremes – taking the most righteous elements, and working them into a hip new take on female soul – often using slight undercurrents of funk, in ways that are a bit like Honeycone, but even groovier! Arrangements are by Sammy Lowe and Steve Swanson – who bring in a nice east coast bite – and titles include "Sugar On Sunday", "Rosegarden", "You're The One", "The Magic Door", "Collage", "Maybe", and "You're The Fool". Next is So Much Love – a great illustration of the way the female trio could really take off – even without the disco grooves that would later bring them fame! There's a bouncy sound to most numbers here – a bit of Northern Soul here, some 60s mod there – and the girls' vocals are even more amazing than we remember them in later years – really at the top of the girl group pack for the time. Arrangements are by Hutch Davie, Tony Camillo, and Bert DeCoteaux – and titles include "Maybe", "Trade Winds", "I Do Take You", "Who Is She (And What Is She To You)", and "Magic Mirror". 2CD set features a whopping 23 bonus tracks – including "Handle With Care", "Shades Of Green", "Requiem", "Isn't It A Pity", "Yours (long single version)", "There's So Much Love All Around Me (mono)", "Through Misty Eyes (mono)", and mono takes of many album tracks! ~ Dusty Groove

ARCHIE BELL & THE DRELLS - THERE'S GONNA BE A SHOWDOWN

A stormer from Archie Bell & The Drells – one of our favorite soul albums ever, and a masterpiece of mid-tempo soul! Archie Bell & The Drells sound amazing here – light years from the rougher funk of their earlier years, yet still with a groove that's undeniable – an incredible meeting of soul music scenes handled by the young Gamble & Huff team – who not only produce most of the record, but also wrote most of the tracks on the set! The groove is lightly lilting, and totally on the money – a sound that's incredible, and hard to describe in words – but which really grabs us from the get-go. All tracks are great, and totally fresh – and tunes include "I Love My Baby", "Houston Texas", "Showdown", "My Balloon's Going Up", "Giving Up Dancing", "Girl You're Too Young", and "Green Power". ~ Dusty Groove

JULIA HUFF - MEET JULIA HUFF

When a gifted singer spends well over a decade honing her craft, all the while wrestling with the sweet-n-sour sauce of life, it makes an exceptionally stunning story for a debut recording. Julia Huff and her understatedly titled first offering Meet…Julia Huff, are just such entities. The Chicago-based chanteuse sacrificed a budding career as a hard news journalist to return to the path of singing she was born to strut with high favor and love power. With music produced, arranged and largely composed by the legendary Jerry Peters (Phyllis Hyman, Earth Wind & Fire), Meet…Julia Huff introduces the listener to a 5-star talent as comfortable with cabaret jazz as she is with high gloss soul-pop. Make no mistake – Julia Huff is a singer whose time has finally arrived.

Julia Huff has been steadily and faithfully working what’s left of the fabled Chicago nightclub circuit 3 to 4 nights a week gigging the old fashioned way with her group Julia Huff & The Company Band. She’s played every venue from the sadly closed Jilly’s and The Back Room to festivals such as “Taste of Chicago” and the Main Stage of “Juneteenth,” to headlining a host of private V.I.P. receptions and corporate industrials. She also made Detroit a home away from home with frequent visits to all of its casinos and, of course, Baker’s. She is best known for her loving “A Tribute to Phyllis Hyman” which packed houses in many cities. Ms. Huff also took her act overseas for acclaimed extended engagements.

“I’ve played prestigious clubs in Russia, including Moscow, promoted with radio and television interviews,” Julia shares with pride. “Before that, Japan was my first time out of the country. I was in Gion and Kyoto at Select Repos where I played for a month…amongst the real geishas! I had everybody from a big time Sumo wrestler to the President of Toyota in attendance to see me.”

Singing began for Chicago-born Julia Huff when she belted out The Carpenters’ “We’ve Only Just Begun”…at her kindergarten graduation! From that point until college, she sang everywhere from church to talent shows. Once at university level, however, Julia pursued another burning dream to be a news journalist. After earning her broadcasting degree, she landed at City News Bureau, covering many top local and national political stories, and was also an on-air reporter at NBC affiliate WICD-TV in Champaign, Illinois. But the reality of that grind had Julia rethinking her career. Besides, the Chicago nightlife was calling…one of the last cities a girl can make a living in singing.

"It was a hard choice but I decided to make the arduous journey back to performing,” Julia shares. “I don’t play an instrument and don’t have a degree in music, but I went ahead and started singing in clubs anyway.” Starting as a featured singer with The Gentlemen of Leisure (a.k.a. The Gents), Julia did shows and industrials at key spots across the country, including Las Vegas. The last of these types of ensembles for her was The Steve Edwards Orchestra with whom she still sits in occasionally. She eventually started her own group then hit upon the idea to do a show based around the music of Phyllis Hyman.

“There were several singers that influenced me but Phyllis had a tremendous impact because my father was a huge fan. When he passed away 5 years ago, I decided to do the tribute shows…to Phyllis and in his honor. Over two sets I sang 25 songs with a 13 piece band, background vocalists, costume changes, some narrative – the whole thing. I started out doing the tributes as V.I.P. receptions with dinner on Mother’s Day at the Dusable Museum. They completely sold out. So I started doing them at different spots all over town.”

One man that began following her over many of those shows is Adrian Rosser who, via Infinite Strategies, began shaping the direction of Julia’s career. Rosser invited Jerry Peters to check her out. Almost immediately a mutual admiration society began and it became clear he would be perfect to produce her long- anticipated first recording. “Jerry is on fire for The Lord so that was the first thing we clicked on,” Julia testifies. “He helped me to realize that my gift is from God and that I am being an obedient servant to follow this call as my life’s purpose. I was also drawn by Jerry’s need to be excellent. That he personally worked with Phyllis Hyman in the `70s only made it sweeter. Going from 0 to 90 in 5 seconds – that’s how I describe our recording experience. He really pushed me.”

Jerry Peters recalls, “When I first went to hear Julia, I saw this girl lugging in all this equipment herself – a real do it your self-er. I could tell she’d paid a lot of local dues and had a lot of local fans to show for it. I was impressed. She sang a myriad of songs –from Michael Jackson to standards – and she was quite adept. For her record, one of the challenges we met was carving out her own projection of identity. It was clear she established her initial direction as a student of jazz vocals but I was amazed by how many dresses she could pull off the rack of her musical dress shop that fit just perfectly. I was trying to create the right garment for her based on where her life was at this moment. Songwriting was my entry into this business (via The Friends of Distinction’s 1969 soul classic ‘Going in Circles’ with lyricist Anita Poree). A lot of my music had not been heard. My philosophy:

If you don’t write it, find it! I played her one song after another and one by one she said, ‘That’s my life.’ She validated the music by identifying so strongly with it.”

When Julia met Jerry, she was coming out of a very heavy time. “I had been divorced 6 months… still a very emotional time for me. Jerry and I talked about where I was in my life and career then he pulled some songs from his stash. One was ‘I’ve Come Too Far to Turn Around’ which I embraced as all about my journey in music, stepping out on faith. ‘All Because of You’ was originally a gospel song before they gave it to me – Lord before boy. I like the music and the way I sang it. Then ‘Who’s Gonna Hold Me Now’ has that Chicago steppers beat. It feels good to have a song that associates me with the city in which I got my start. I’ll never forget how much love these people have given me…the peace, joy and happiness of using the gifts God has given you for a living is awesome.”

Interestingly, Jerry originally wrote “That’s Not Gonna Get It” years ago for Anita Baker but it never got to her. “Julia is a 2nd soprano with a deep round sound,” Jerry explains, “so you hear a lot of Sarah Vaughan inspiration who, in turn, inspired Anita Baker. Now, Julia Huff may be added to that list.” For her debut’s one cover, Julia picked the great Antonio Carlos Jobim’s Brazilian ballad classic “Dindi.” “I’m a frustrated jazz vocalist,” Julia laughs. “I mean I am that girl! I’ve always been a fan of Latin rhythms…Latin everything! And ‘Dindi’ is simply a beautiful song. I love Carmen McRae’s version and what El DeBarge did with it. And every time I perform it, I get an amazing response.”

Julia Huff has already recorded enough music for at least another e.p. She wants to introduce herself slowly and surely. She’s continuing to hone her vocal skills with A-1 singing coach Stephanie Spruill. And Julia’s immediate goals are to travel farther and wider – perhaps as the opening artist for a major artist – and expand her brand by spreading love through song.

“I saw an interview with Lionel Richie conducted by Pierce Morgan,” Julia Huff concludes. “Lionel said one secret of his success is, ‘I write about this one timeless thing called love.’ I kept that in mind for my first CD – not just the physical act of love but love in all its emotional colors and deeper dimensions.”

:::: SOURCE: juliahuff.com ::::

ERIC CLAPTON'S SLOWHAND - 35TH ANNIVERSARY MULTI-FORMAT RELEASES

Eric Clapton has been in the spotlight for close on fifty years and the portrait of his artistry is a complex one -- from his early days as a guitar icon to a songwriter of great sensitivity, as well as an interpreter of everything from blues and jazz to rock and country music. He has fashioned albums in many different styles and with many different themes, yet few have the sense of oneness that pervades Slowhand.

Slowhand was recorded at Olympic Studios in South West London in May 1977 and was produced by Glyn Johns. Released in November 1977, Slowhand was the most successful album of Clapton's '70s studio recordings. It reached No. 2 on the Billboard chart, where it stayed for five weeks, spending a total of seventy-four weeks on the American album chart.

Slowhand features "Wonderful Tonight," "Lay Down Sally" and "Cocaine" -- songs that are still heard regularly on radio and at Eric Clapton's live shows. So long after its release is a great recommendation and testimony to its place in Clapton's canon. The album includes cover versions of songs written by some of his favorite songwriters (JJ Cale, John Martyn, Don Williams, Arthur Crudup) along with original compositions by Eric Clapton.

Both the Super Deluxe Edition and Deluxe Edition feature four Slowhand session outtakes (three of them previously unreleased): "Looking At The Rain," "Alberta," "Greyhound Bus" and "Stars, Strays And Ashtrays."
A week before the Slowhand sessions commenced, the band performed at London's Hammersmith Odeon. The Super Deluxe Edition captures the complete 14 track Hammersmith Odeon, April 27, 1977 concert on two CDs, while the Deluxe Edition features 9 tracks from the Hammersmith Odeon concert. Songs featured at the Hammersmith Odeon show include "Tell The Truth," "Knockin' On Heaven's Door," "Can't Find My Way Home," "Stormy Monday," "Badge," "I Shot The Sheriff" and "Layla."

ERIC CLAPTON's "SLOWHAND 35th ANNIVERSARY" comes in five different formats:

1. SUPER DELUXE EDITION - 3 CD / 1 DVD (audio only) / 1 LP
•Slowhand remastered from the original Olympic Studios 1/4" flat analog master tapes, plus four album session outtakes. The unreleased tracks have been newly mixed from the original Olympic Studios 2" analog masters by Kevin Reeves at Sterling Sound.

•Complete Live At The Hammersmith Odeon Concert, April 27, 1977 (2CDs, 14 tracks including 10 previously unreleased). The tracks have been newly mixed from the original 2" analog masters by Kevin Reeves at Sterling Sound.

•Slowhand remastered in 24/96 Hi-Resolution Stereo and 5.1 Surround Sound (audio only DVD)

•Slowhand remastered vinyl LP on 180g heavyweight vinyl

•Including 3 replica tour programmes from the time & a book featuring a behind-the-scene look at the recording

•Packaging replicates the original Fender amplifier tweet used on the recording

2. DELUXE EDITION - 2 Disc Set
•Slowhand remastered from the original Olympic Studios 1/4" flat analog master tapes, plus four album session outtakes

•Live At The Hammersmith Odeon Concert, April 27, 1977 (9 tracks including 5 unreleased)

3. SINGLE CD

•the original album, remastered from the original analog masters

4. VINYL LP

•the original album, remastered from the original analog masters

5. DIGITAL VERSION

•the original album, remastered from the original analogue masters pus four album session outtakes

TRACK-LISTINGS:
SUPER DELUXE EDITION:
DISC ONE: SLOWHAND REMASTERED AND EXPANDED:
1 COCAINE 3.42
2 WONDERFUL TONIGHT 3.42
3 LAY DOWN SALLY 3.52
4 NEXT TIME YOU SEE HER 4.02
5 WE'RE ALL THE WAY 2.31
6 THE CORE 8.42
7 MAY YOU NEVER 3.00
8 MEAN OLD FRISCO 4.38
9 PEACHES AND DIESEL 4.50
bonus tracks:
10 LOOKING AT THE RAIN 3.39 *
11 ALBERTA 2.40
12 GREYHOUND BUS 2.57 *
13 STARS, STRAYS AND ASHTRAYS 4.36 *

DISC TWO: SLOWHAND: HI-RES STEREO and 5.1 SURROUND SOUND DVD (audio only):
1 COCAINE 3.42
2 WONDERFUL TONIGHT 3.42
3 LAY DOWN SALLY 3.52/4.14
4 NEXT TIME YOU SEE HER 4.02
5 WE'RE ALL THE WAY 2.31
6 THE CORE 8.42
7 MAY YOU NEVER 3.00/3.58
8 MEAN OLD FRISCO 4.38
9 PEACHES AND DIESEL 4.30

DISC THREE: LIVE AT THE HAMMERSMITH ODEON, April 27, 1977:
1 HELLO OLD FRIEND 3.58 *
2 SIGN LANGUAGE 3.58 *
3 ALBERTA 4.06 *
4 TELL THE TRUTH 9.00
5 KNOCKIN' ON HEAVEN'S DOOR 5.18
6 STEADY ROLLING MAN 6.55 *
7 CAN'T FIND MY WAY HOME 6.06 *
8 FURTHER ON UP THE ROAD 6.35
9 STORMY MONDAY 12.42

DISC FOUR: LIVE AT THE HAMMERSMITH ODEON, April 27, 1977 continued:
1 BADGE 8.37 *
2 NOBODY KNOWS YOU WHEN YOU"RE DOWN AND OUT 4.00 *
3 I SHOT THE SHERIFF 14.04 *
4 LAYLA 6.02 *
5 KEY TO THE HIGHWAY 7.28 *

DISC FIVE: SLOWHAND VINYL LP:
SIDE ONE
1 COCAINE 3.42
2 WONDERFUL TONIGHT 3.42
3 LAY DOWN SALLY 3.52
4 NEXT TIME YOU SEE HER 4.02
5 WE'RE ALL THE WAY 2.31
SIDE TWO
1 THE CORE 8.42
2 MAY YOU NEVER 3.00
3 MEAN OLD FRISCO 4.38
4 PEACHES AND DIESEL 4.50
* previously unreleased

DELUXE EDITION:
DISC ONE: SLOWHAND REMASTERED AND EXPANDED:
1 COCAINE 3.42
2 WONDERFUL TONIGHT 3.42
3 LAY DOWN SALLY 3.52
4 NEXT TIME YOU SEE HER 4.02
5 WE'RE ALL THE WAY 2.31
6 THE CORE 8.42
7 MAY YOU NEVER 3.00
8 MEAN OLD FRISCO 4.38
9 PEACHES AND DIESEL 4.50
bonus tracks:
10 LOOKING AT THE RAIN 3.39 *
11 ALBERTA 2.40
12 GREYHOUND BUS 2.57 *
13 STARS, STRAYS AND ASHTRAYS 4.36 *

DISC TWO: LIVE AT THE HAMMERSMITH ODEON, April 27, 1977:
1 TELL THE TRUTH 9.00
2 KNOCKIN' ON HEAVEN'S DOOR 5.18
3 STEADY ROLLING MAN 6.55 *
4 CAN'T FIND MY WAY HOME 6.06 *
5 FURTHER ON UP THE ROAD 6.35
6 STORMY MONDAY 12.42
7 BADGE 8.37 *
8 I SHOT THE SHERIFF 14.04 *
9 LAYLA 6.02 *
* previously unreleased

THE GONZALO RUBALCABA TRIO BRINGS "CUBAN FIRE" TO SOUTH FLORIDA NOVEMBER 24, 2012

South Florida JAZZ, the principal purveyors of modern jazz in the region since its founding in 1991, celebrates its 21st anniversary Saturday, November 24, 2012 at 8:00 p.m. with the four-time Grammy-awarded Cuban-born pianist Gonzalo Rubalcaba. The internationally renowned and dazzling virtuoso will perform with his touring trio featuring bassist Matt Brewer and drummer Marcus Gilmore. The venue is the Rose & Alfred Miniaci Performing Arts Center, 3100 Ray Ferrero, Jr. Blvd on the Nova Southeastern University campus in Davie.

The focus of the South Florida JAZZ remains steadfastly on presenting artists of national and international repute under the aegis of Artistic Director Ron Weber and gently guided by the world-acclaimed vibraphonist/educator Gary Burton, Artistic Advisor, who believe this season’s lineup is among the strongest in the organization’s storied history.

VIP ticket holders will be treated to a special celebratory Cuban theme reception commencing at 6:00 p.m. in the DeSantis Building’s Courtyard Atrium, across the plaza from the Miniaci Performing Arts Center. Along with great food, the New World School of the Arts Jazz Ensemble will treat guests to live Latin jazz. There will also be a raffle with elegant items from local establishments.

VIP tickets are $150 or $99 (without South Florida JAZZ membership) and $50 general admission, and can be purchased from the Broward Center box office at 954-462-0222; toll-free at 877-311-SHOW; and online at SouthFloridaJazz.org or BrowardCenter.org.

“Gonzalo Rubalcaba, a pianist of almost supernatural abilities …” Ben Ratliff, New York Times

Gonzalo Julio Gonzalez Fonseca was born in post-revolutionary Havana, Cuba, May 27, 1963, into a musical family rich in the traditions of the country’s artistic past. During his childhood, Gonzalo played piano and drums, while absorbing his Cuban musical heritage primarily from his father, pianist Guillermo Rubalcaba, his two brothers, and leading local musicians who frequented the household. Through scarce and treasured jazz recordings, he also assimilated the music of Thelonious Monk, Bud Powell, Charlie Parker, Dizzy Gillespie, and Art Blakey. He began his classical training at age nine, focusing on the piano, ultimately earning a degree in music composition from Havana’s Institute of Fine Arts. By that time he had become entrenched in the Havana club scene as a jazz player.

The conservatory-trained master pianist has integrated huge swaths of the European classical and jazz traditions, while maintaining deep ties to the rhythmic currents of his Cuban homeland. Initially coming to international prominence under the aegis of American bassist Charlie Haden with whom he recorded extensively, Gonzalo Rubalcaba has now earned 15 Grammy nominations, winning two Grammys and two Latin Grammys. At first, Mr. Rubalcaba distinguished himself primarily with his virtuoso technique and rhythmic prowess. With maturity, he has become a more introspective composer and improviser, while continuing to dazzle audiences as he explores the rich history of Cuban music. His most recent recordings, Fé and XXI Century, were released on Mr Rubalcaba’s personal label, 5Passion.

ARTISTIC PERSONNEL
Gonzalo Rubalcaba – piano
Matt Brewer – double bass
Marcus Gilmore – drums

Funding for this organization is provided in part by the Broward County Board of Commissioners as recommended by the Broward Cultural Division, the Bernie Bercuson Trust, the Charles and Mildred Schnurmacher Foundation, and JAZZIZ Magazine.

NEW RELEASES - GILBERTO GIL, PAULINHO & PACIFICO MASCARENHAS, LUIZ CARLOS DA VILA

GILBERTO GIL - COPACABANA MON AMOUR

An incredible bit of soundtrack work by Gilberto Gil – and one of his best albums! The record was originally recorded to accompany the work of director Rogerio Szanzerla, and it's a wonderful mix of samba, jazz, and post-Tropicalia psychedelia – all recorded in a warm intimate style that's similar to Gil's legendary London recording from 1971! The tracks are some of the most pioneering that Gil ever recorded – and they break free of the time and space constraints of some of his studio albums, stretching songs out into long open-ended explorations, 4 of which are over seven minutes long. Gil's vocals are extremely soulful, and his guitar playing is free and jazzy, often interspersed with some nice funky flute and percussion work. Titles include "Diga A Ela" in two versions – plus "Mr. Sganzeria", "Blind Faith", "Yeh Yeh Yah Yah", and "Tomorrow Vai Ser Bacana". ~ Dusty Groove

PAULINHO & PACIFICO MASCARENHAS - UM PASSEIO MUSICAL

A really obscure little set from late 50s Brazil – and a record that's a key link between jazz and bossa nova! Singer Paulinho's got a style that's definitely rooted in jazz – as is the Pacifico Mascarenhas combo, which uses great piano lines to underscore the light rhythms on drums and percussion – but there's also an early bossa vibe going on here – one that borrows a bit from Latin piano combos from New York and Havana, but tunes them down and mellows them out – creating a sense of spaciousness that's perfect for the vocals. Paulinho's also got this light style that's more bossa than most Brazilian singers of the time – and titles include "Foi Assim", "Em Teus Bracos", "Vieram Me Contar", "Pam Pam Pam", "Por Favor Amor", and "Juras De Amor". ~ Dusty Groove

LUIZ CARLOS DA VILA - PRA ESFRIAR A CABECA

An overlooked gem from 80s Brazil – a rare bit of indie samba work from Luiz Carlos Da Vila – and a record that's definitely a cut above the usual material in the genre! There's a wonderfully rich sound to the record right from the start – soulful vocals from Luiz Carlos, and some rootsy percussion – but also these warmer backings that almost have jazzy changes at times – of the sort that you might get if Joao Donato ever arranged a samba record. The original was issued on the small Arca label – so has escaped the attention of global ears for years – but the set's a record well worth seeking out. Titles include "Morro Molhado", "Diamante", "Das Origens", "Bracos De La", "Notavel Amiga", "A Flor Da Esperanca", and "Tudo Se Ilumina". ~ Dusty Groove

NICOLE WILLIS AND THE SOUL INVESTIGATORS - TELL ME WHEN (WE CAN START OUR LOVE THING ONCE AGAIN) B/W IT'S ALL BECAUSE OF YOU

Nicole Willis & The Soul Investigators are back with a brand new single on 7-inch vinyl and digital download formats set for release via Finland's Timmion Records on 29 October.

Tell Me When (We Can Start Our Love Thing Once Again) b/w It's All Because Of You is the simmering first double-side single from their upcoming LP, Tortured Soul, set for release on Helsinki-based Timmion Records in February 2013. On their sophomore effort, Nicole and the Soul Investigators signature soul sound is clearly audible, but it also unearths rhythm & blues tainted licks and the pleas of unrequited love.

Tell Me When, with its commanding chorus, serves as a perfect vehicle over the aching eight years between the group's release of the critically acclaimed Keep Reachin' Up and the upcoming Tortured Soul. Nicole Willis & The Soul Investigators have evolved sound-wise, with brooding verses and exquisite, instrumental delivery. The flip-side, It's All Because Of You, is filled with equal measures of intensity and melancholy, and this A-side/B-side single reeks of instant classic. Nicole Willis & The Soul Investigators have taken their expressive approach to composition to the next stratum. It's hard to compare them to any other group - vintage or current.

Their debut LP, Keep Reachin' Up, was released in 2005, and it was a massive success, especially amongst vinyl enthusiasts both domestically and abroad. It was a seminal contribution to the list of records at the start of the retro-soul movement. The album was selected as the "Urban Album of the Year" by Mojo Magazine and their track, Feeling Free, won "Track Of The Year" at Gilles Peterson's Worldwide Awards, just to name a couple of acknowledgments from several high appraisals it received. In addition to the release of Tortured Soul, Nicole Willis & The Soul Investigators will be appearing back on stages across Europe and beyond, performing songs not only from the new LP, but also from their debut effort.

NEW RELEASES - JOE BATAAN, CHROME CANYON, PAUL BASCOMB

JOE BATAAN - MR. NEW YORK AND THE EAST SIDE KIDS

Amazing work from the Spanish Harlem underground of the late 60s! From the title, to the cover, to the beautiful blend of songs, this album perfectly sums up the rich energy and raw power bubbling in the NuYorican scene of the time – effortlessly blending together soul, Latin, jazz, and funk – making the whole thing work perfectly because that's the way it was! These cats didn't know anything about rules – at least not until the big bad older Latin mafia snapped them in place – and the result is a freewheeling album of hard grooving jammers and sweetly emotive soul tunes! Tracks include "Puerto Rico Me Llama", "Make Me Smile", "Es Tu Cosa", "The Prayer", "Aguanta La Lengua", and "Chili Beans". ~ Dusty Groove

CHROME CANYON - ELEMENTAL THEMES

A pretty sweet set of retro futurist synth from Chrome Canyon – which is essentially the solo project of Morgan Z and guests – and a mix of late 70s Krautrock-era synthy bombast and early 80s electro soundtracky styles! Overall, it's got sort of a Euro disco-tinged soundtrack vibe – think Giorgio Moroder, Wendy Carlos and 80s soundtrack-era Tangerine Dream – along with more starkly minimal tones and key, though used to maximum effect! There's also some twists and turns – like the cosmic post-fusion sax on the title track, bits of guitar, drums and other instrumentation. It's a very well structured batch of instrumentals – with a focused, song-based approach – as opposed to looser synthy experimentation. A leftfied win for Stones Throw! Includes "Beginnings", "Pluze", "Legends", "Branches", "Elemental Themes", "Cave Of Light", "Generations", "Chasing The Dead", "Sacred Mountain", "Signs From An Old World", "Carfire On The Highway" and more. (Includes MP3 download card.) ~ Dusty Groove

PAUL BASCOMB - BAD BASCOMB!

A tremendous tribute to the tenor talents of Paul Bascomb – pulled together here from rare 78rpm sides for United Records – including more than a few that were never issued at the time! Bascomb's got a rich and soulful tone – easily one of the best of the postwar generation, even though Paul never got the same sort of due as tenorists on big labels like King, Chess, or Savoy! The set features most of the same players on all tracks – Bascomb on tenor, Eddie Lewis on trumpet, Frank Porter and Tommy Waters on alto, and Duke Jordan on piano – and Porter sings on a few tracks too. Titles include "Mumbles Blues", "Blues & The Beat", "Black Out", "Nona", "Love's An Old Story", "Liza's Blues", and "Soul & Body". 17 tracks in all!  ~Dusty Groove

NEW RELEASES - SEAN HAEFELI, LAVERNE BUTLER, HOUSTON PERSON

SEAN HAEFELI - RISE

Berlin based pianist, vocalist, lyricist, and composer Sean Haefeli mesmerized us with his vocal jazz that’s sprinkled with welcome notes of Jose James and Gil Scott-Heron. Others have referenced Last Poets, Roberta Flack, Michael Franti, Bobby McFerrin, and Gregory Porter when speaking about his music. Looks like dude has a pretty fail proof thing going on as far as many are concerned. Sean’s sound blends jazz, soul, hip hop, and spoken word to birth warm, honest, and intimate music perfect for cozying up to as winter approaches. RISE marks his third album, which similar to his previous two is self-produced and released. Touring will begin in late October through November of this year. Go here to stream the album and to download the title track for free http://www.giantstep.net/ . ~ Giant Step

LAVERNE BUTLER - LOVE LOST AND FOUND AGAIN

A beautiful, sweetly jazz-based set from LaVerne Butler – and we can't imagine why you'd lose the love for her voice and style, if you've ever found it in the first place – but this is great place to find it! Bruce Barth is on piano and handles the arrangements, with the great Houston Person on tenor for over half the set – and the group is rounded out by bassist Ugonna Okegwo and drummer Rudy Royston. That intimate, though elegant small combo approach works really well! Includes "Any Place I Hang My Hat Is Home", "Be A Sweet Pumpkin", "Everybody's Somebody's Fool", "The Bluest Blues", "Travelin' Light", "In My Own Little Corner", "I'll Never Be Free", "Smile" and more.  ~ Dusty Groove

HOUSTON PERSON - NATURALLY

Naturally great work from soul jazz legend Houston Person – who's still going strong – and delivers one of the best of his High Note records to date! Person has always had an easygoing approach, which is probably something of a recipe for graceful aging – but whatever his secret may be, Naturally is a remarkably strong record – and he makes it sound easy! It's a timeless quartet jazz set – featuring fellow legend Cedar Walton on piano, Ray "Bulldog" Drummond on bass and Lewis Nash on drums. Includes a nice take on Milt Jackson's classic "Bag's Groove", plus "That's All", "Namely You", "My Foolish Heart"", "Red Sails In The Sunset", "Don' Cha Go 'Way Mad", "It Shouldn't Happen To A Dream" and "Sunday". ~ Dusty Groove

EGYPTIAN PROJECT - YA AMAR

With all the news that’s been coming out of Egypt over the last year, it’s surprising that more music has not been circulating. Years before the term ‘Arab Spring’ was coined, French producer Jérôme Ettinger devoted himself to exploring, preserving and spreading the sound of the North African country he fell in love with. Assembling world-class musicians and layering in tasteful electronic rhythms beneath virtuosic playing, his Egyptian Project debut, Ya Amar (Six Degrees Records), is the most potent album to arise from this country since the political upheaval began.


More of an infusion than a fusion, Egyptian Project is the result of a long and commited collaboration between the defenders of Egyptian musical tradition and a young French musician who mix the sounds of the Nile delta and Cairo with the ambiances of trip-hop, electro, hip-hop, and even classical music. « The fluvial meeting of oriental fragrances and minimalist electronic sounds » makes for a journey into unexplored territories.

‘My idea was to mix electronic and Egyptian music,’ he says. ‘I chose one string instrument player, one singer, one percussionist and one rababa player. They are all my family now—I manage and organize everything for all of them.’

As his passion for Egyptian culture and music grew, Ettinger assembled a team of renowned artists for a touring band: percussionist Ragab Sadek, rababa player/violinist Salama Metwally, oud player Ihad Radwan and singer Sayed Eman, whose epic vocals decorate many of this album’s 10 songs. With all musicians between the ages of 50 and 60, Ettinger has played an important role in introducing these incredible artists to the world beyond the Nile.

The band has already performed numerous times to tremendous acclaim in Egypt and throughout Europe, including a recent show at the famed Paleo festival in Switzerland. Expect a U.S. tour in early 2013.

:::: SOURCE: Six Degrees Records ::::

AARON NEVILLE ANNOUNCES JANUARY 22 RELEASE FOR HIS BLUE NOTE DEBUT MY TRUE STORY

ALBUM FEATURES NEW VERSIONS OF HIS FAVORITE DOO-WOP SONGS PRODUCED BY KEITH RICHARDS & DON WAS

Iconic soul/R&B vocalist Aaron Neville has announced a January 22, 2013 release date for My True Story, his debut for EMI’s Blue Note Records. The record, produced by Keith Richards and Blue Note Records President Don Was, finds Neville revitalizing some of his favorite songs from the doo-wop era and beyond.

“Aaron Neville is one of the most expressive and soulful artists of all time, it’s such a thrill to hear him sing,” Was says. “His vocals have a way of reaching into your heart and stirring something really deep inside. It’s a huge honor to welcome him to Blue Note Records and to be involved, along with the legendary Keith Richards, in the production of this album.”

All of the tracks were hand-picked by Neville himself as they are songs that have remained close to his heart since he was a child. “When I was a kid, doo-wop was like medicine to me,” Neville explains. “I didn’t care what else was goin’ on in the world as long as I could sing along with Pookie Hudson and The Spaniels, The Flamingos, The Clovers, Sonny Til and The Orioles, Clyde McPhatter—I was like a kid in a candy store.”

A stellar group of session players was assembled to lay down these tracks. In addition to Keith Richards on guitar other musicians include: Greg Leisz on guitar (Beck, Sheryl Crow, Bob Dylan, Ryan Adams), Benmont Tench on organ (founding member of Tom Petty and the Heartbreakers), George G. Receli on drums (Bob Dylan, James Brown), and Tony Scherr on bass (Bill Frisell, Norah Jones, Rufus Wainwright). Richards sheds some light on the atmosphere in the studio as he explains, “This was a dream session. The band fell right into the groove and Aaron sang like an angel. It was an honor!”

During Neville’s five decade recording career, he has displayed a chameleon-like ability to perform, collaborate and contribute to a wide range of genres. From the funky soul and R&B cuts with the Neville Brothers to a triple platinum, Grammy winning duet with Linda Ronstadt in 1989, “Don’t Know Much” (off an album the duo received two Grammys for), to the title track of 1993’s The Grand Tour which put Neville on the Country charts for the first time, to his several Gospel records including his most recent project, I Know I’ve Been Changed in 2010.

The track listing for My True Story is as follows:
1. Money Honey (Jesse A. Stone)
2. My True Story (Eugene Pitt & Oscar Waltzer)
3. Ruby Baby (Jerry Leiber & Michael Stoller)
4. Gypsy Woman (Curtis Mayfield)
5. Ting a Ling (Nugetre)
6. Be My Baby (Jeff Barry, Ellie Greenwich & Phillip Spector)
7. Little Bitty Pretty One (Robert J. Byrd)
8. Tears On My Pillow (Sylvester Bradford & Al Lewis)
9. Under The Boardwalk (Arthur Resnick & Kenny Young)
10. Work With Me Annie (Hank Ballard)
11. This Magic Moment / True Love (Medley) (Doc Pomus & Mort Shuman)
12. Goodnight My Love (Pleasant Dreams) (John S. Marascalco & George Motola)

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

EASY STAR'S THRILLAH - A REGGAE ADAPTATION OF MICHAEL JACKSON'S THRILLER

Following up on the hugely successful reggae tribute albums of Dub Side of the Moon, Radiodread and Easy Star’s Lonely Hearts Dub Band comes the reggae adaptation of the greatest selling record of all time – Michael Jackson’s Thriller. The album titled Easy Star’s Thrillah brings back several of the reggae stars from previous albums, such as vocalists Michael Rose, Steel Pulse, Luciano, Mojo Morgan, alongside the diverse playing of guests Yossi Fine, Joe Tomino, Andy Farag, and horn tracks courtesy of Israel’s highly-acclaimed funk/hip-hop band Hadag Nachash.

In selecting Thriller, Easy Star Records co-founder Lem Oppenheimer says, "We've always tackled the greats - The Beatles, Pink Floyd, Radiohead - but while we wanted to take on another huge album, we also wanted to blaze new trails. In Thriller we found those new trails in a number of firsts for the series: the first album by an American artist, the first non-concept album, the first R&B/soul record, as well as the first release from the 80s.”

“For me, I was most excited for Thriller,” says producer/arranger/guitarist Michael Goldwasser. “I was always more of an R&B/soul and reggae kid growing up and I have an intense personal connection to Michael Jackson’s music.” As usual, the process initially involved Goldwasser spending a few months on arranging the songs. “Writing the arrangements for this album was a cool challenge. I didn’t have to try to make non-dance music into dance music as on our previous albums because the original Thriller is so danceable already, but I needed to find ways to make each song groove in a different way from the original version. I didn’t want any of the arrangements to be obvious in that regard.” In the end, Goldwasser’s arrangements are some of the most interesting in his career.

Now that the hard work in the studio is done, the band is looking forward to bringing this music on the road, adding some dance/pop songs to their already varied sets. The band’s live show, which was nominated for a UK Festy Award in 2009, already features tracks from the band’s previous three tribute albums, along with original material. An extensive fall tour of the US and UK is already set up (US dates listed below), with more to come over the next year. As the original Thriller album comes up on its 30-year anniversary in November, what better way to celebrate this timeless album than to catch the Easy Star All-Stars perform their reggae-infused versions of this pop masterpiece.   :::: SOURCE: GiantStep.net ::::

NEW RELEASES - BIRELI LANGRENE, THE PYRAMIDS, JIMI TENOR AND KABUKABU

BIRELI LANGRENE - MOUVEMENTS

Blues with a little bit of harmony is how French guitarist and bassist Bireli Langrene describes his latest release Mouvements. On Mouvements he's joined by fellow musicians Franck Wolf saxophones), Jean-Yves Jung (Hammond organ), and Jean-Marc Robin (drums). Besides the blues, you also get a bit of jazz and rock mixed in to give it a sound that is decidedly eclectic and electric both at the same time. Among the tracks, the title track "Movements") appears to be a real gem. This is indeed harmony! The tracklisting also includes "Jay", Maybe Tomorrow", "Oleo", Where's Frankie:, plus six more. Mouvements is available on the Universal Music France label. Bireli Lagrene will be in concert in Paris, Saturday, October 20, 2012 at the Trianon.

THE PYRAMIDS - OTHERWORLDLY

The long-awaited return of The Pyramids – easily one of the hippest spiritual jazz ensembles of the 70s! This new recording has all the earthy brilliance of the group's classics – with leadership from reedman Idris Ackamoor, who's continued a dedication to righteous sounds on his own during the past few decades – which means he's hardly coming out of retirement here, just re-focusing his ongoing energy towards the classic Pyramids sound! Instrumentation is heavy on percussion and organic elements – and the tunes do a great job of blending freewheeling performance with more focused grooves – an Afro-avant mode that really lives up to the group's legacy, carried off here by players who include Kenneth Nash on drums and percussion, Kimathi Asante on bass, Kash Killion on bass and cello, Bradie Speller on congas and electronics. Titles include "Memory Ritual", "Time Capsule", "What The World Needs Now", "Nebulosity", "Otherworldly", "Boundless Eternities", "Cloud Rider", "Uttering Sacred Words", and "They Came From Chicago". ~ Dusty Groove.

JIMI TENOR AND KABUKABU - THE MYSTERY OF AETHER

Anyone familiar with Jimi Tenor will already know that his esoteric style has already earnt him a unique place somewhere between the worlds of jazz, techno, afrobeat, latin and many other cosmic ensembles. But with this latest LP Aether, Jimi delves even deeper to bring us one of his most expansive visionary records yet. Aether has come together over the course of a couple of years, and illustrates some of the different projects that Jimi’s been working on. One of the main seeds was planted after Jimi collaborated with OG afro-beat originator Tony Allen, after the sessions for their LP for Strut’s ‘Inspiration Information’ series. Others songs were developed from Jimi’s long-running tete-a-tete with Berlin-based afro ensemble Kabu Kabu. Throw in a touch of Martin Denny-esque exotica, some Arkestra-inspired space waltzes, and a few of Jimi’s homemade instruments, and the result is a collection of tracks bristling with percussive energy, big band arrangements, inter-galactic spirituality.

Tracks like ‘Dance Of The Planets’, ‘Eternal Mystery’, and the opener ‘Selvanakija’, clearly owe a debt to Sun Ra, condensing the Arkestra’s galactic space-walks into taut afro-cuban work-outs underpinning Jimi’s trademark melodies and brass harmonics. But it’s not just musically that the Arkestra has inspired the sounds on Aether. “I read about Pat Patrick making his own bass marimbas, so I went and got a book from the library about making your own instruments,” said Jimi. “Making your own instruments is good, you can find your own unusual tunings and overtones. It’s a bit like when Sonic Youth make their own tunings on their guitars. It’s all about making something a bit different from the usual temperate scale. That just doesn’t sound interesting anymore. “

The track ‘Universal Love’ is one example of Jimi’s home-made sound coming through, with an epic build-up climaxing with an instrument that sounds like an elephant had wandered into the recording session at Berlin’s Lovelite studio. “I just went into the forest and chopped down a big branch. I carved it myself, like one of those alpine horns or something.” This DIY approach is Jimi’s way of bringing people together. “I hope that when people see it live, they feel like they’re a part of a sort of unprofessional group, like a hippy family or something. Sometimes when I see the latin percussion set-ups on stage, it all just looks so polished and clean. I’m often making my own claves for the whole band, just to get a bit of a different sound.”

A sense of togetherness is at the heart of Aether, and not just in the concert hall. It permeates Jimi’s whole world-view, even embracing other worlds. Lyrically, the song ‘Resonate And Be’ captures what the LP is about, exploring the drama of the cosmos for our own spiritual and material well-being. Jimi explains, “in our view there is only aether. Everything material is the resonance of the aether. We are, because our particles resonate the song of cosmos. We are all one.” ~ KindredSpirits.nl