REAL GONE MUSIC ANNOUNCES PARTNERSHIP WITH DUSTY GROOVE FOR REISSUE CAMPAIGN

First Releases Include Albums by Gene Harris, Bobbi Humphrey and Jeremy Steig

Chicago's Dusty Groove record store stands on Ashland just south of Division in the city's Wicker Park area. But for music lovers around the globe who have either made the pilgrimage or bought from its online store, Dusty Groove stands squarely (or, rather, hiply) at the intersection of soul, funk, jazz, hip hop and world music as purveyors of the rarest, coolest and freshest sounds around. Now, Real Gone Music, the upstart, eclectic reissue label distributed by Sony via Razor & Tie, is proud to announce that it is teaming up with Dusty Groove to produce reissues drawn from the store's 16-year experience selling to its dedicated audience of collectors, deejays, devotees and fans; these titles are all time-tested yet impossible to find on compact disc. And the first releases in the joint venture—all out December 4—hit right on that soul-jazz-funk sweet spot.

All three titles hail from the legendary Blue Note label, with CD debuts all around; the first, from soul jazz guru Gene Harris, presents two albums taken from his early-‘70s peak. 1971’s Gene Harris/The Three Sounds is easily one of the hippest and funkiest records Harris made with his group the Three Sounds. Arrangements are by Monk Higgins – but the sound is even heavier than the Higgins/Harris work of the late 60s – and quite different than the straight trio material of their roots. Meanwhile, 1972’s Gene Harris of the Three Sounds has him stepping away from his previous trio and really shining as the lead man on the record. The session features Harris with some righteous work on acoustic keys, but getting a sweet electric vibe from Wade Marcus, who handles all the backings on the date. A wonderfully soulful pairing, with notes by Pat Thomas

Discovered by Dizzy Gillespie, jazz flautist Bobbi Humphrey broke through a lot of barriers during her stint at the Blue Note label, where she was among the first female instrumentalists signed to the imprint and where she pioneered a highly influential brand of jazz-funk fusion. Dig This, her second album for the label, puts Bobbi’s flute out front of great arrangements from Alphonse Mouzon, Horace Ott, and Wade Marcus – all of whom give the record a feel that’s plenty rich, yet lean enough to let the Humphrey’s sweet flute solos really take off. Real Gone’s releases include the original 1972 album art, with notes by Pat Thomas.

One of the hippest, funkiest, most soulful albums ever from flute man Jeremy Steig, Wayfaring Stranger offers a bit more stripped down feel than other Steig albums of the time, with an especially strong focus on the bass of Eddie Gomez, who really gives the record a soulful sparkle. Don Alias plays drums, and there’s also some sweet guitar from Sam Brown on the record too. Produced in 1970 by Sonny Lester—reissued with new liner notes by Pat Thomas and the original gatefold art featuring Gomez’s original notes!

About Real Gone Music
Real Gone Music, formed and helmed by industry vets Gordon Anderson and Gabby Castellana, is an eclectic and prolific catalog and reissue label with distribution through Sony via Razor & Tie. Anderson and Castellana each started businesses in 1993 — Collectors’ Choice Music and Hep Cat Records & Distribution, respectively — that became two of the most important outlets for buyers and sellers of vintage music recordings. They joined forces in 2011 to launch Real Gone Music, which serves both the collector community and the casual music fan with a robust release schedule combining big-name artists with esoteric cult favorites. Real Gone Music is dedicated to combing the vaults for sounds that aren’t just gone — they’re REAL gone.

Out 12/4/2012 from Real Gone Music & Dusty Groove
Gene Harris: Gene Harris/The Three Sounds/Gene Harris of the Three Sounds
Bobbi Humphrey: Dig This
Jeremy Steig: Wayfaring Stranger

NEW RELEASES - ARTVARK SAXOPHONE QUARTET WITH CLARON MCFADDEN, RENEGADES OF JAZZ, SEVAL

ARTVARK SAXOPHONE QUARTET WITH CLARON MCFADDEN - SLY MEETS

Soprano voice and four different saxophones – a really unusual combination, with sparkling musical results! The title's a bit hokey, but the record's got a wonderfully fresh feel – angular lines from this Dutch sax quartet – very much in the best spirit of 80s experiments in the style – but mixed with wonderful lead vocals from Claron McFadden – a singer with an amazing range, and one who sings both lyrics and wordless passages on the record! The voice is often used as a fifth instrument on the record – combining beautifully with the sounds of the reed players, in a mode that works especially well without any piano, bass, or drums. The record's unlike anything we've heard before – and titles include "Aux Anges", "Burns Blues", "Beyonzz", "Breathe In Breathe Out", "Ode To A Mouse", "Karpuz", and "Claron's Song". ~ Dusty Groove

RENEGADES OF JAZZ - HIP TO THE JIVE

Funky club with jazzy touches – all served up in a stripped-down mode that takes us back to some of our favorite dancefloor experiments of the 90s! The groove here is somewhere in the house-y side of the Acid Jazz scene of early 90s London, or mid-decade work from the Tokyo club jazz crowd, or even a bit like "Hot Music" from Soho – a tune that would be a great comparison for the sound of this sweet little set! Rhythms are built from lots of sampled live jazz passages – so there's an acoustic warmth throughout, even when things are processed – and there's enough live jazz instrumentation to keep a spontaneous feel in the music as well. Titles include "Karabine", "Get A Wiggle On", "Voodoo Juju", "Black Milk", "Hip To The Jive", and "Solitaire". ~ Dusty Groove

SEVAL - SEVAL 2

A beautiful second set from Seval – even more powerful and personal than the group's debut – with sublime compositions and cello by Fred Lonberg-Holm, and these fragile yet soulful vocals from Sofia Jernberg! Instrumentation is quite spare – just cello, guitar, trumpet, and bass – often not used entirely, which leaves Sofia out front to work through the lyrics with a warm, fluid feel. There's echoes of Joni Mitchell and Minnie Riperton at times – although the album's more jazz-based than either of their work – and titles include "Children Of Monsters", "Boredom Is Bliss", "Light Brush", "Simple Flowers", "Details", and "Super Seeded". ~ Dusty Groove

CHRIS JASPER - KEEP BELIEVIN'

If you believe like we do that the Isley Brothers of the ’70s and early ’80s were important in R&B and contemporary music in general, then you must have mad respect for Chris Jasper’s contributions through that band and subsequent projects. This Julliard trained, Billy Taylor mentored keyboardist co-penned nearly every one of their hits of that period and in the process helped to define their sound through his funky, smooth and intelligent keyboards, whether it was piano, organ, clavinet or synthesizer. Next to Stevie Wonder and Billy Preston, it’s hard to think of anyone else whose stylistic innovations on these instruments impacted R&B, funk, soul and Quiet Storm more than this man. He along with the other Isleys were early inductees into the Rock and Roll Hall of Fame, but he wasn’t done yet when he, Ernie Isley and Marvin Isley left the band in 1984. Forget “We Are The World,” the transcendental anthem of hope and harmony of the 1980s was his 1985 worldwide #1 hit with Isley-Jasper-Isley, “Caravan of Love.”

Jasper has since gone on to record nine solo albums, some of them gospel records, following the path of another great soul man, Al Green. Through all the trends in R&B, Jasper has steadfastly remained his own man, a very spiritual artist who delivers inspirational messages with a deft feel for classic grooves in soul music because he was so instrumental in shaping and transforming that style of music.

All of those things are present on his latest track “Keep Believin’.” He throws down the gauntlet from the start, with the challenge to “put down those guns and pick up those books…and listen to what I’m getting ready to put down,” and then proceeds to put down some of the most righteous, fierce old-school funk this side of 1983. There’s the pumping double bass drum beat, an irresistibly spongy Moog bass and a vintage talk box generated vocoder. The groove is nasty but the message is clean and direct, about staying positive and striving for achievement through education…a companion piece to his R&B chart topper “Superbad” from 1987. Jasper does another thing the old-school way: he builds in actual chord changes in the song.

This ain’t no hip-hop, though some of the savvier hip-hop artists have sampled his work. Chris Jasper keeps believin’ first in his craft, because he knows that what he preaches with his music and his lyrics are the things that will endure over time. And any time is the right time to cue up an uplifting, dance floor smoker like “Keep Believin’.”

“Keep Believin’” is the lead single from Inspired, a new Chris Jasper album slated for release in January, 2013.

Visit http://somethingelsereviews.com/2012/09/24/something-else... to read the review and to stream "Keep Believin'"

Visit http://www.facebook.com/goldcitymusic to hear more music from Chris Jasper, also available on iTunes.com, Amazon.com, CDBaby.com and other outlets.

ZARA MCFARLANE - UNTIL TOMORROW

Anybody keeping an eye on the ongoing development of the British jazz scene will have noticed Zara McFarlane in the last few years. The 28 year-old London vocalist has made a string of impressive appearances with musicians who do no choose their collaborators without careful consideration – Denys Baptiste, Orphy Robinson, Soweto Kinch and Jazz Jamaica All Stars to name but some. McFarlane’s appearance on the latter’s 2006 Motown-themed album Motor City Roots revealed a singer whose power was offset by delicacy, as was clear from her sensitive handling of Stevie Wonder’s My Cherie Amour.

All of these experiences have furthered the growth of Zara McFarlane as an artist in the most complete sense of the term and the singer made good on her potential when she issued her self-produced EP, Until Tomorrow in 2010. The 6 track mini-album was evenly split between original compositions such as Captured and standards like the perennial jazz favourite On Green Dolphin Street. There was enormous poise in the way that McFarlane handled the melodic line and chord changes of a piece but what was arguably as impressive was the fact that she asserted herself as a thoughtful lyric writer.

Now that EP has evolved into a full-length album, Until Tomorrow, and it marks Zara McFarlane’s debut for Gilles Peterson’s Brownswood Recordings.

Backed by a brilliant aggregation of musicians that includes pianist Peter Edwards, double bassist Nick Walsh, drummer Andy Chapman and saxophonists Binker Goldings, Camilla George and Zem Adu, McFarlane comes into her own on an engrossing set that includes more originals such as Chiaroscuro, Blossom Tree and More Than Mine.

“Most of this album was recorded before I even met Gilles,” Zara explains “I did 5 new songs this year in January. Pete [Edwards] wrote arrangements and things just fell into place. I suppose that I was really trying to bring a contemporary feel to old music. I think anyone can listen to jazz but it’s up to us to make it fresh so that anyone can relate to it.”

All of the finesse in Zara McFarlane’s delivery stems from both a natural gift and years of formal study at a very high standard. In 2001 she studied popular music performance at Thames Valley University and then went on to complete a Masters Degree in Jazz Studies at the Guildhall School of Music in 2009. As her education suggests, McFarlane is as drawn to popular culture as she is high art, and her work to date wholeheartedly shows that she is comfortable in a wide variety of contexts. She has thus collaborated with the acclaimed house producer Bopstar, contributed one of her original compositions to the contemporary soul compilation Basement Soul and also done gigs with South African icon Hugh Masekela and the gifted British pianist and arranger Alex Wilson.

The creative spark for Until Tomorrow was lit a long time ago.“Some of the songs on the album go back some time,” she notes. “I’ve wanted to make an album for years, probably about 10 years or so, and now this definitely feels like the right time for me.”

One of the curveballs that McFarlane throws on Until Tomorrow is her rendition of The Children And The Warlock and Thoughts. These two superb tracks are by pianist and composer Harry Whittaker, a relatively unheralded figure in the jazz world who is nonetheless respected for his work with Roy Ayers, Carmen Lundy and his own Black Renaissance project. “Gilles [Peterson] introduced me to Harry Whittaker’s trio album, Thoughts Past And Present,” Zara says “There were a couple of tracks that I chose from there. His writing reminded me of Pete’s [Edwards] in a way. It was really melodic, spacious and very emotive. That’s what I try to have in my music. It’s more of an emotional journey as opposed to a just piece for the sake of writing a piece.”
The arrangements for Until Tomorrow have a liberal dose of subtle, stealthy swing, yet as steeped as Zara McFarlane is in the jazz tradition, she has brought an eminently soul undercurrent to what she does, and it is entirely possible that she could appeal to audiences weaned as much on Jill Scott and Erykah Badu as Cassandra Wilson and Dianne Reeves. Blessed with a fine voice and a strength of character that has led her towards thought-provoking, if not challenging lyrics, Zara McFarlane has with Until Tomorrow taken a giant step down the road to what is surely a long, illustrious career.

Zara McFarlane has been nominated for a MOBO in the Best Jazz Act 2012 category!  The MOBO's - or, Music Of Black Origin Awards - which were established in the UK in 1996 to recognise artists of any ethnicity or nationality performing black music. The awards span many categories and last year Kairos 4tet won Best Jazz Act 2011.~ gillespetersonworldwide.com

PYRAMID BLUE - PYRAMID BLUE

Pyramid Blue's brilliant full-length album debut is a collection of Ethio-flavoured jazz numbers in sweet balance with Latin and Cuban grooves, Afrobeat echoes and avant-Funk vibrations. All of this with the psychedelic astral sound of the Pyramid.

The pyramid has a secret inside that only the lucky few are privileged enough to enjoy. Oscar Martos and his henchmen have deciphered the coordinates of the roots of African music, hiding rough diamonds and priceless treasures. Black music is a tree with many branches, and Pyramid Blue explores its roots, bringing them to us with respect and loyalty.

Africa is the source, but also the jumping off point for sounds interacting with Soul, Jazz, Funk, Latin and other herbs. Their earlier work on 7" vinyl released by Enlace Funk sold out in just a few weeks, and now we have their long awaited debut recorded with the help of Soul Toasting Studio's analog warmth. The same studio where they recorded Oscar Martos' last adventure with the Afro Soul Toasting All Stars, an original group whose coordinates fell near Afrobeat and who had a short but successful life on earth.

Man fears the passing of time and the passing of time fears the pyramid. Oscar Martos' influences look out to space with Jazz, Afrobeat, Funk and Soul, where Ethiopia is the source of scratching sounds that are enriched with Latin and Cuban music in a search to go even further. Mulatu Astatke, Sun Ra and Joe Cuba are just some of Pyramid Blue's musical influences.

It's an album that reflects the energy of their live shows and where the power of nature's spirit seems to take them to the next level. Tracks like Río Níger, Cocodrilos Acechando, Pajaritos and Judías Comen Habas are just some examples of a repertoire filled with light, spirituality, and punch without forgetting their latin essence; as in Las Flores and La Oportunidad and the forceful rhythm of Arachnid that marks a warm and robust beat like the footprint of an elephant.

The pyramid is a symbol of union between the earthly and the spiritual, and it's that same idea that Pyramid Blue's music seeks to embrace.

As the Ethiopian proverb says, "When spiders weave together, they can catch a lion."

NEWBAN - NEWBAN & NEWBAN 2

Throughout the ‘80s and early ‘90s, Atlantic Starr was one of the most successful outfits in R&B. Little is known, however, of the group’s heady jazz and groove roots when they were still called Newban. Founders Albert “Duke” Jones Jr. and Porter Carroll Jr. were students in Greenburgh, New York, when they recruited a horde of classmates in forming Newban–named such because they were, after all, a “new band.” John Shearer, a friend of Jones, was a neighbor of legendary audio engineer Malcolm Addey and arranged for Newban to record with Addey at the famed Bell Sound Recording Studios.

Newban and Newban 2 were released on Guinness Records in 1977. Guinness, however, was one of many labels during the late ‘70s that juked numbers and intentionally undersold and under-promoted albums for tax write-offs to keep parent imprints i! n the black. Both Newban releases were making noise in the clubs and among those in the know, but never got the push. Co-founder and drummer Carroll and the majority of the members landed a deal with A&M Records and became Atlantic Starr. The Newban masters, however, remained safe and secure in the closet of Addey’s home. “I just called him up and said, ‘Listen, we got some things we can do after all these years,’” Jones says. Addey was with it, and returned the tapes for a nominal charge – in pristine, digitally re-mastered condition.

Neither Jones nor Addey stopped believing in Newban, which is why he feels this BBE release could be the re-emergence of something lost some 35 years ago. “It might really make some noise with someone behind it,” Jones says about the &! ldquo;new” Newban compilation. “We could get together tomorrow.” Release date: 29. Oct / US: 13. Nov (CD, 2LP, digital).

JUKEBOX MAMBO - RUMBA AND AFRO LATIN RHYTHM & BLUES 1949 0 1960

A stunning collection that sheds light on a pivotal yet totally overlooked area of American music - the influence of Afro-Cuban and Latin rhythms on R&B and Jazz during the mid-20th century. Following up on the success of the Jukebox Jam album of vintage juke joint and bar room sounds, compiler and DJ Liam Large digs even deeper to put together a diverse set of dynamite R&B sides, all built around Afro-Cuban, Latin and Caribbean rhythms.

The Blues and it's populist sister Rhythm & Blues have been visited and revisited 100s of times on 1000s of comps, but the 'Spanish Tinge' has been completely overlooked, perhaps even scorned by purists. This album stands out from the rest and the result is a set which sounds stunningly fresh and unique - a remarkable achievement itself given that the actual songs average at around 60 years old.

Jukebox Mambo showcases an experimental era which continues to inform today's music, with Afro-Latin rhythms now completely assimilated into modern pop. The overtly sensual, exotic feel of many of these songs also continues to find an echo in modern music, and Jukebox Mambo provides a thrilling, sensual listening experience. Also included are detailed, illustrated liner notes which unveil the largely untold story of how Afro-Latin influences gradually affected Black American music during the 20th century, and in turn how this filtered into and transformed modern music thereafter. Lovingly compiled, expertly annotated, with music as interesting as it is stimulating and arresting, Jukebox Mambo is a new and exciting look at the era and music which changed history!

Presented as; 22 track CD with 16 page colour CD booklet with in-depth liner notes, 45 label scans and previously unpublished photographs. Deluxe double vinyl pressing with thick, glossy double gatefold sleeve with colour insert. And also available in super limited unique vintage album style 6 x 10" book set with unique artwork, colour insert and 4 bonus tracks!

NEW RELEASES - UKU KUUT, JENNA ANDREWS, RUFUS

UKU KUUT- ESTONIA FUNKE

Contemporary work from Uku Kuut – but grooves that have the same great feel as some of his rare material from the 80s! Most of us folks first discovered Uku's work on PPU's excellent compilation of his home studio recordings from years back – and it's great to see that he's still going strong, working here on a set of different mixes for various local producers – most of whom are quite well conversed in dancefloor soul styles from the US! Most vocals are in English, and the set features Uku Kuut mixes of cuts that include "Angel", "Long Time Ago", "One More Time", "Funkdabass", "No One's Gonna Stand In Our Way", "When Love Has Gone Away", "Main Funk", and "Affinity". ~ Dusty Groove

JENNA ANDREWS - KISS AND RUN

On her debut EP Kiss And Run, Canadian born singer-songwriter, Jenna Andrews weaves a deep tapestry of emotion, personal growth and introspection. She imbues everything from pop to soul with poignant lyrics, suggesting a strength and wisdom beyond her years. Music, particularly jazz and R&B, was her mother’s passion. She introduced Jenna to great vocalists like Donnie Hathaway and legendary singer-songwriters such as Carly Simon and Carole King. As a young girl, Jenna connected with the music of her mother’s generation more than the music of her own peers. On her seven track EP, Jenna collaborated with some of the world’s top writers and producers, including The Messengers (Justin Bieber, Chris Brown), Dan Heath (Lana Del Rey), Doc McKinney (The Weeknd, Drake, Mary J. Blige), Adam Pallin (Cobra Starship), Jake Gosling (Ed Sheeran, Paloma Faith, Lady Gaga, Far East Movement), and Wayne Wilkins (Beyonce, Jordin Sparks, Cheryl Cole). ~ Giant Step

RUFUS - PARTY 'TIL YOU'RE BROKE

Great later work from Rufus – working here without Chaka Khan on vocals, but sounding even jazzier as a result! There almost seems to be more emphasis on the instrumentation than before – and the album's got a warmly funky groove that definitely carries on the 70s Rufus tradition, but cleans things up a bit for the 80s generation – especially lean on the rhythms and the keyboards! Tony Maiden and David Wolinski handle the vocals, often in a compressed way that's mixed right down in the music – but the real charm here comes from the rhythms and the sweet jazzy licks in the grooves. Titles include "Tonight We Love", "Can I Show You", "What Is It", "Afterwards", "We Got The Way", "Party Til You're Broke", "Love Is Taking Over", and "Secret Love". (SHMCD pressing.) ~ Dusty Groove

NEW RELEASES - TIMO LASSY, DAVE DOUGLAS QUINTET WITH AOIFE O'DONOVAN, UKITUSA QUINTET WITH CLEVELAND WATKISS

TIMO LASSY - IN WITH LASSY

The sound of Ricky Tick hits Schema Records – with a whole new groove in the process! Tenorist Timo Lassy has won our ears strongly with his previous records for Finnish label Ricky Tick – hardbop groovers that are filled with soul and life, and lots of spontaneous live jazz playing. This smoking Schema records set has all that same sort of energy – but shifts the groove slightly from hardbop to more of a mod sort of style – thanks to use of Wurlitzer electric piano in the combo, which helps bring along a jaunty approach to the rhythms! The vibe's a bit like an Atlantic Records soul jazz set from the late 60s – like work by David Newman or Hank Crawford – and Timo's tenor is in great company alongside the electric keys, acoustic bass, drums, and percussion. Titles include "Touch Red", "Teddy The Sweeper", "Creole Stew", "It Could Be Better", "Uncle Harry Came To Town", and "Shootin Dice". ~ Dusty Groove

DAVE DOUGLAS QUINTET WITH AOIFE O'DONOVAN - BE STILL

Quite a compelling project from trumpeter Dave Douglas – a record that has him working strongly with singer/guitarist Aoife O'Donovan, whose presence really helps transform the sound of the set! Aoife's got a folksy touch on her vocals, and colors things in with some great earthy tones that are a surprisingly good fit for Douglas' lines on trumpet – sometimes jazzy, sometimes sparkling with a rich sense of American history – yet delivered in a subtle, linear way. The blend works a lot better than it sounds on paper – thanks to help from other musicians who include Jon Irabagon on tenor, Matt Mitchell on piano, Linda Oh on bass, and Rudy Royston on drums. Titles include "Barbara Allen", "Living Streams", "Be Still My Soul", "High On A Mountain", "God Be With You", and "This Is My Father's World". (Includes album download.) ~ Dusty Groove

UKITUSA QUINTET WITH CLEVELAND WATKISS - UKITIUSA QUUINTET

An amazing collaboration between musicians from three different nations – recorded high in the mountains in Northern Italy – with an equally majestic sound to match! The album's especially noteworthy for being a great space for vocalist Cleveland Watkiss to really rediscover the jazz-based side of his talents – using his voice like an instrument, in ways we haven't always heard since his initial years of promise – and really impressing us with a new sort of righteous range and spiritual depth! Most of Watkiss' vocals are wordless, and flow beautifully amongst the piano from Antonio Figura, bass from Milko Ambrogini, drums from Ettore Fioravanti, and guitars from William Lenihan. The overall sound is mostly acoustic, without any of the processing from other recent Watkiss projects – and the tunes are all originals by the group, with a mix of slow modal grooves and open searching styles. Titles include "Synastry", "Modus", "Dear Mr Kuhn", "Innocenza Ritrovata", "Fiume Di Gennaio", "When The Dust Settles", and "My Little Effe". ~ Dusty Groove

PRASHANT ASWANI - VISIONS

Rock fusion guitarist, Prashant Aswani has announced December 18 as the release date for his upcoming album, Visions. Incubus drummer, Jose Pasillas is featured on all 12 instrumental tracks along with bassist, Gabe Rosales. Jeff Kollman makes a guest solo appearance on the song, "Left of Center." The CD will be available worldwide and songs will be available directly on iTunes and other digital outlets.

Recognized for his melodic playing, Aswani's influences are diverse. Artists from Metallica to Zakir Hussain color the style in which he plays. Couple that diversity with extensive jazz studies at Berklee College of Music and prominent exposure to Indian classical music while growing up; and everything comes together to create a very unique fusion of sound. Aswani's passion and enthusiasm for the guitar shine through the recording. He weaves melodies gracefully over odd meter and demonstrates his command of the instrument with diverse rhythms, progressions and tones.

All tracks are written and arranged by Aswani who also produced and engineered the recording. Mixing was shared by Aswani with John Cranfield. Prashant Aswani is a long time endorsing artist of ESP Guitars which produce his signature models, Bogner Amplifiers, DiMarzio Pickups, Maxon, Rupert Neve Designs, SE Electronics, Dean Markley strings, T-Rex Effects, Providence Cables and Effects, Digitech and Free the Tone Effects Pedals.

Visions track listing: Your Call, Boiling Point, Trapped, Crispy, The Other Side, Motivated to Run, Brain Burn, Nerve Dance, Left of Center, Jaya, Another Chance, Glimmer

www.prashantaswani.com
Source: VittekPR

GINA CAREY - LIVE LOVE AND LAUGH 2 (LOVE)

On November 1, 2012, Gina Carey will release her first single from her coming CD Live Love & Laugh 2 (Love)

In this modern world of music, many are expected to follow on the dotted line. Most music industry executives are looking for new artist who either exhibit or who are willing to mimic the likes of already famed and successful artist, but not so with singer songwriter Gina Carey. The always busy soul singer defies the norm again with her new single “Love Me Too.”

“Love Me Too” is the first single releases from Gina’s upcoming CD Live Love & Laugh 2 (Love), the second volume to her September 4, 2012 digital album release Live Love & Laugh (Live) Volume One CD. “Love Me Too” will be available for a free download on Thursday, November 1, 2012.

Unlike her previous soulful tunes, “Love Me Too” is quite different. As Gina continues to explore her artistry and journey of becoming a more accomplished songwriter and producer, she has decided to step out of the closed box of restraints with “Love Me Too” and let your creativity fly freely. Gina’s new single “Love Me Too” masterpiece only to be described by critics as a neo-jazzy fusion sound with a middle eastern flavor. In addition, the influence of Ella Fitzgerald’s scatting style can also be heard in “Love Me Too.” Overall, Gina’s range and creativity is what truly stands out in this track.

“Love Me Too” is well produced and gives listeners a more thorough view of Gina’s musical talents and diversities. In the coming months, listeners will be able to enjoy the entire soulful eclectic collection of Live Love & Laugh 2 (Love). The entire album will in company a combination of Soul, Jazz, Fusion, House, Latin, Disco, Funk and R&B.

Although Gina deems herself to be a true soul singer, she is excited about writing and producing music with vast array of multicultural influences. Because of the wide cultural range of Gina musical supporters ,she is adamant about creating music will appeal to the masses without compromising that soulful angelic sound that she has been known for throughout her musical caree. Gina believes that true artistry is allowing yourself the freedom to be who God made you to be. She also believes that she was not put on this earth to be carbon copy of anyone.

“Love Me Too” will be available for a free download upon its release. To find out more about Gina Carey, visit Gina’s official website at GinaCarey.net. Gina’s previously released song collections can be found at most digital retail stores such as CD Baby, iTunes, Amazon and more.

http://www.gicomusic.com
http://www.ginacarey.net /
http://www.johncareymusic.net

NEW RELEASES - NEON QUARTET, IVO NEAME, DANIEL HERSKEDAL / MARIUS NESET

NEON QUARTET - SUBJEKT

Led by legendary British saxophonist Stan Sulzmann, this bass-less quartet combine values of experience with the freshness and vitality of youth. Featuring three of the most talked about and in demand players of their generation including Kit Downes, Jim Hart and Tim Giles, Subjekt, looks set to firmly root this formidable band as one of the most exciting and leading chamber jazz ensembles in the UK scene. Watch a 4 part interview with Stan Sulzmann talking about the Neon Quartet, the musicians, his influences and practicing - Click here




IVO NEAME - YATRA

“Yatra burns with an extremely organised energy, and seethes with cerebral passion. It marks Neame’s ascent to a stratospheric level as composer, arranger and bandleader”. BBC MUSIC

“a virtuosic artistry at play that lifts this album to heights that compare favourably with what Django Bates had achieved at an equivalent stage of his career. It's that good”. JAZZWISE

“remarkable writing and playing are often in dazzling balance”. GUARDIAN

“Hovering over this brilliant recording is the benign spirit of Loose Tubes. But the impeccable craftsmanship, the subtle narrative ebb and flow, and the sheer inventiveness of the music are all Neame's”. ARTS DESK

“one of the most in-demand players in the UK”. YORK PRESS

“packed with characteristic drama and intensity”. LONDON JAZZ

Listen to Ivo Neame talk about his new album here: http://soundcloud.com/editionrecords/ivo-neame-podcast  

DANIEL HERSKEDAL / MARIUS NESET - NECK OF THE WOODS   An unlikely pairing of saxophone and tuba from two incredibly gifted and formidable musicians makes for a unique and emotionally expressive live music experience. Marius Neset and Daniel Herskedal present their latest project – Neck of the Woods – showcasing their sometimes plaintive and melancholy, sometimes humorous and playful, but always lyrical and moving sound.   ~ Edition Records  

JOE BLESSETT - CHANGING EVERYTHING

Originally to have been released in the summer of 2012, but delayed after attending ASCAP Expo 2012 armed with information from George Duke, Lee Ritenour, Mark Isham and The Smeezingtons. With some material being scrapped, rearranged and more detail applied to approach and create music for a new generation of listeners. Adding a unique visual presence to the project Jeff Adair owner and director of Dream Work Conquer Films a film production company based in Dallas, TX will direct the music video: Talking to Miles.

Changing Everything is a loose and varied sounding jazz album. Titling the project Changing Everything was a smart and appropriate idea because the music’s mood changes, seemingly from song to song.

This album’s title track is stripped down improvisation. It’s highlighted by out-front drums, which are particularly hard-hitting. The bass line wanders nicely while the saxophone lead is fast, furious and echoed. “Giving It,” however, is entirely different. This piece is led by muted trumpet and backed by a rhythmically repeated-note bass groove. It has a kind of late night, groggy feel to it. This work also stands out from the rest for its spoken word part. When drums finally come in, they are used sparingly, yet appropriately. It also has an overall improvised vibe.

With “Seduction of a Dream,” going for something overtly seductive, like the soundtrack music out of a Jim Jarmusch film. It’s the sort of playing that conjures up a neon nighttime scene. The mind’s eye pictures a lonely man either driving through city streets or walking a dimly lit downtown ally.

One song is called “Talking to Miles.” It is assumed that the ‘Miles’ in question is trumpeter great, Miles Davis. It is not, however, a very Miles-y sounding track. With its soulful saxophone lead, it sounds a little more like a David Sandborn tune. However, if you’re looking for something that sounds like Miles Davis, look no further than “White Roses.” Although it also has a ‘70s-ish electric guitar part, the song’s aimless funk groove (calling it aimless is a compliment, by the way), the trumpet-led track has a bit of Davis’ latter day funk-jazz approach going for it. The tune eventually settles into a relatively familiar pop groove. However, its intro is quite Miles-y, indeed.

“Jazz R.I.P.,” brings Weather Report to mind in a big way. The groove is a little off-kilter, while the bass and saxophone interplay has a loose, let’s-just-let-it-rip feel. It is blues-y, yet not at all as something you might expect to hear played at a funeral; the ‘R.I.P.’ designation should not mislead you. Instead, it is light and fun. Toward the track’s finish, an acoustic piano part enters into the mix, a little like the way Zawinul (of Weather Report) used to do it – only his keyboard sections were oftentimes synth parts. After the piano solo comes a walking bass line. All the while, saxophone nicely comes in and out of the mix. It’s a true delight.

Sometimes, all it takes is an intriguing song title to capture your attention. Such is certainly the case with “Amoral Behavior.” This one rolls with a bit of a druggy feel to it. It also has a flute part that comes in and out for brief spurts. It appears to be about someone right at the point of giving into temptation; as though resistance is getting weak and somebody’s about to do something they really shouldn’t do.

There sure is a lot of music to digest on Changing Everything, and most of it is quite good. The artist is not afraid to incorporate modern R&B elements into his music, without ever compromising quality jazz. This is the kind of album that will likely appeal to jazz purists, even though it is not technically pure, straight ahead jazz all the time. The bottom line is that Changing Everything utilizes these various outside jazz elements creatively. The music doesn’t just settle, for instance, with predictable funk-jazz grooves that would make for crowd-pleasers in, say, a concert setting. Instead, there’s always a bit of a prickly nature to the compositions that leave them coming off familiar, but nevertheless surprising, in unexpected places.

Change is good, even though the mere thought of changing everything – as the album title appears to encourage -- is a little scary. However, when rhythms and melodies are constantly changing in an artistic sense, it is always a good thing, which means there is plenty of aural goodness to be found on Changing Everything.

"Joe Blessett offers that rarest of things – a jazz recording with as much risk as it has enterprise. Changing Everything reveals itself as by turn challenging and approachable; two things that so rarely share the same stage anymore." - Nick DeRiso   www.joeblessett.com

CAROLINE DAVIS QUARTET - LIVE WORK & PLAY

Chicago-Based Alto Saxophonist/Composer Caroline Davis Debuts with "Live Work & Play" November 6

Davis's Quartet, Featuring Guitarist Mike Allemana, Bassist Matt Ferguson, & Drummer Jeremy Cunningham

Caroline Davis's star has been rising in Chicago. She's been called "one of the city's strongest and most exciting jazz saxophonists" (Chicago Reader) whose "musical development over the last three years has been nothing short of startling" (Chicago Music).

On November 6, Davis brings her music to a national audience and beyond with the release of her powerful and compelling debut album, Live Work & Play (Ears & Eyes Records). Featuring her quartet of Mike Allemana (guitar), Matt Ferguson (bass), and Jeremy Cunningham (drums), the CD is an exploration of odd time signatures and bluesy melodies that encourage constant dialogue and defy expectations.

"My view of improvisation blossomed when I moved to Chicago [in 2004]," states Davis, who participated in late-night jam sessions at the New Apartment Lounge with Von Freeman while studying for a doctorate in music cognition at Northwestern University. Allemana, a longtime Freeman sideman, was so impressed with her playing that he joined her band, as did Freeman's bassist Matt Ferguson. "Mike suggests things that expand my harmonic vocabulary," says Davis. "He also is interested in more challenging rhythmic concepts, so my ideas of conventional rhythm and meter have been expanded."

Davis's distinctive originals predominate, among them "Dionysus" with its airy minimalism and artful bridging of musical sections; the lead track "Kowtow," written in the key of E to fulfill the literal Chinese act of "paying respect by kneeling and bowing" in the face of a musical challenge; and a mini-suite ("Old Rims," "Shiny Rims," "Real Rims") inspired by a young autistic man she met in New Orleans whose specialty is identifying the make and model of different car rims. Also included are Allemana's arrangement of Billy Strayhorn's indelible "Blood Count" and a free-style reading of Charlie Parker's "Cheryl."

Born in Singapore in 1981 to European parents (her father was a British engineer, her mother a Swedish actor), Caroline Davis was raised in Atlanta and Dallas. She played saxophone in her junior high band and was introduced to jazz by her high school band director. After acquiring both a Bachelor of Music in Jazz and a Bachelor of Science in Psychology at the University of Texas at Arlington, she bridged those areas in acquiring, in 2010, a Ph.D. in Music Cognition at Northwestern University in Evanston.

Davis's dissertation looked at the intricate collaborations musicians form in a scene, and related those connections to the ways they hear music. "I try to let all that stuff go when I play," she says with a laugh. "The more you let thoughts go and just listen, the better you play."

Davis, who counts Wayne Shorter, Charlie Parker, and Chicago native Lee Konitz among her prime musical influences, received a Down Beat outstanding soloist award in 2006 and was selected as one of five young jazz musicians to play with Sisters in Jazz, a program administered by the now-defunct International Association for Jazz Education devoted to the mentorship of women in jazz. In 2011, she played at the Kennedy Center for the Performing Arts in Washington, DC as part of the Betty Carter Jazz Ahead Program.

Like so many local standout players before her, Davis has not restricted herself to any one style or genre. She has teamed with bassist Matthew Golombisky and drummer Quin Kirchner in the free improvising trio Pedway (which recently recorded its second album), and regularly performs in hip-hop, reggae, and R&B outfits. She and her quartet performed at the Chicago Jazz Festival last month, and the release of Live Work & Play is sure to bring new opportunities for this deeply gifted artist to present her music. "I'm looking forward to seeing what listeners think of our record," says Davis. "It's as honest as we could've made it."

www.carolinedavis.org

CLAYTON BROTHERS AND FRIENDS - THE GATHERING

Clayton Brothers Team Up With  Wycliffe Gordon and Stefon Harris on New ArtistShare Release, The Gathering, Available November 6

"John Clayton is one of the most technically imposing bassists in jazz...Jeff maintains a sweet, preaching delivery; the Adderley influence runs deep in him." - The New York Times

"John and Jeff Clayton are two of the most soulful, swinging siblings on the planet." - NPR "JazzSet with Dee Dee Bridgewater"

Stream Tracks From The Gathering

A new Clayton Brothers release is always a family affair - not only due to the actual blood ties of siblings John and Jeff Clayton and son/nephew Gerald, but in the sense that quintet-mates Terell Stafford and Obed Calvaire have become part of the Claytons' extended musical family through years of touring and recording.

On their new ArtistShare release, The Gathering, that family extends even further with the addition of trombone great Wycliffe Gordon and vibraphone wizard Stefon Harris. "We realized that we've got so many friends in the business that we like playing with," says John. "Wouldn't it be fun if we could pair up with a couple of them and create this new Clayton Brothers sound?"

Using various configurations of this expanded line-up, the Claytons take full advantage of the new sonic and harmonic possibilities granted to them, while staying firmly rooted in the classic Clayton Brothers sound. Raucous hard bop, tender ballads, deep blues and soul-stirring funk all combine to create a typically wide-ranging and moving - in more ways than one - experience.

After decades playing with virtually every seasoned legend and young lion in jazz, it's safe to say that the Claytons had their pick of collaborators for The Gathering. They chose to invite Gordon and Harris due to the very specific dimensions they could add to the Brothers' established sound. "We wanted both bluesy and edgy, and we get that from both of these guys, individually and collectively," John says. "Wycliffe Gordon plays serious blues like other people can't play. With Stefon, you can feel the roots, but you can hear the progress. You can hear the tomorrow."

"We do a lot of things but we don't necessarily have that New Orleans feel in our band," continues Jeff. "Wycliffe is definitely from the Louis Armstrong era and forward to more modern things. And Stefon pushes the envelope. His group Blackout plays some very cutting edge music, so he brings this edge that we get to try to be a part of."

The celebratory nature of The Gathering is represented by two aptly-named, rollicking new pieces, John's swaggering "Friday Struttin'" and Jeff's boisterous "This Ain't Nothing But a Party," written in the Les McCann/Eddie Harris tradition.

"This is about a party," Jeff says. "We knew we could just have fun."

The Brothers seized the opportunity to compose new music with their guests particularly in mind. Jeff penned the breezy, down-home "Coupe de Cone" for Gordon after an intensive study of the versatile 'bonesman's own recordings. "'Coupe de Cone' is a representation of the elements of Wycliffe that I thought would make him feel comfortable," Jeff says. "He exhibited great playing in grand fashion, as he always does."

The fleet, darting lines of "Stefon Fetchin' It" were John's idea to showcase Harris' staggering dexterity. "Watching Stefon play is like watching a ballet dancer," he says. And that really is communicated through the music."

John's moody, ethereal "Touch the Fog" was devised to pair his brother's breathy alto flute with Harris' supernal vibes playing. And Jeff crafted "Simple Pleasures," an elegant ballad that evokes Shirley Horn and Duke Ellington, to shine a spotlight onto Harris and pianist Gerald Clayton, and their unparalleled ability to express heartfelt emotion in the classic style.

Gerald's more modern approach to a ballad is evidenced in the flowing "SomeAlways," which his father first heard when Gerald sat at the piano during a visit home. "When I heard him play it at the piano it sounded almost like a chorale," John remembers. "Since that was my first impression I went with it and tried to create that vibe I initially felt when I heard him play it for me."

The opportunity to engage in a blues with Gordon on hand proved irresistible, resulting in 'Blues Gathering.' John says that while there have been Clayton Brothers recordings that didn't include a blues, they rarely share a stage without at least one. "We're so steeped in the blues," he says. "It's so natural. One of the phrases that we hear often from students is that something is "only a blues." It feels like a second-rate citizen in the minds of too many people, and it's totally not that for us. We could easily do a whole set of blues and be in heaven."

Jeff delved into somewhat darker emotions for the tense, angular "Tsunami," inspired by the recent disasters in Japan which occurred shortly after the Clayton Brothers had toured the country. "A lot of our friends got caught in the tsunami and its devastating effect," he recalls. "But instead of focusing on only the negative, devastating aspects, I thought of all the elements that create a tsunami and tried to put them in the composition. I wanted you to hear the water and the buildings and the devastation, and then hear the water pulling back."

The repertoire on The Gathering also includes a pair of jazz classics reinvented in the Claytons' inimitable style. Jeff's keening alto wrings every ounce of sentiment from his mentor Benny Carter's "Souvenir," which he played for almost a decade while in the Frank Capp/Nat Pierce Juggernaut Band. As John recalls, his brother "spilled his soul" on the first take, then asked for a second, recalling Carter's frequent injunction that "I wrote that melody for a reason."

"In other words, don't screw up my music," John laughs. So we did a second take and everybody in the booth looked at each other and shook our heads like, 'No, we want Jeff Clayton back.' So we went back to the first take and let my brother be himself. I'm sure Benny would appreciate that."

The three Claytons go it alone on John's haunting arrangement of the Billie Holiday classic "Don't Explain," where the melody is traded between John's bowed bass and Jeff's melancholy alto. The three intone the words "Hush now" and "Quiet" like the whisper of a memory directly into the listener's ear. "I wanted it to sound like it was coming from another time," John says, "like it was coming from a crypt."

The entire ensemble assembles again for Jeff's "The Happiest of Times," which sums up the Brothers' current state of mind in both title and in its joyous sound. "It's a testament to the way I feel about where we are now," Jeff says. "We've had a couple of Grammy nominations - no wins, but we're on the map - we're playing and traveling, we all have our health and God is good, so it's the happiest of times."

Upcoming Clayton Brothers Appearances:
November 5 / Sherman Clay Showroom / Santa Clara, CA
November 6-7 / Jazz Alley / Seattle, WA
November 8 / Jimmy Mak's / Portland, OR
November 9 / Jazz Bakery-Musician's Institute Concert Hall / Los Angeles, CA
January 27 - February 3, 2013 / The Jazz Cruise / Various Locations

The Gathering - Track Listing/Personnel
1. Friday Struttin' (John Clayton) - 7:37
2. Tsunami (Jeff Clayton) - 6:05
3: Touch The Frog (John Clayton) - 5:50
4. This Ain't Nothin' But A Party (Jeff Clayton) - 7:29
5. Stefon Fetchin' It (John Clayton) - 3:36
6. Don't Explain (Holiday/Herzog, Jr.) - 6:11
7. Coupe De Cone (Jeff Clayton) - 7:04
8. SomeAlways (Gerald Clayton) - 6:02
9. Souvenir (Benny Carter) - 6:02
10. Blues Gathering (John Clayton) - 6:15
11. Simple Pleasures (Jeff Clayton) - 5:12
12. The Happiest of Times (Jeff Clayton) - 5:16

Jeff Clayton: Alto Sax, Alto Flute
John Clayton: Bass
*Terrell Stafford: Trumpet & Flugelhorn
Gerald Clayton: Piano
Obed Calvaire: Drums

*Appears on all tracks with the exception of "Don't Explain" and "Souvenir"
Special Guests:
Wycliffe Gordon: Trombone - Tracks 1, 4, 5, 7, 8, 10, 11, 12
Stefon Harris: Vibes - Tracks 3, 5, 11, 12

johnclaytonjazz.com
artistshare.com
dlmediamusic.com

HAITIAN GROOVES COLLECTORS EDITIONS FROM SCHLEU SCHLEU, IBO COMBO, TROPICAL COMBO

SCHLEU SHLEU - BACK TO STAY / LES BIBLES DE ORCHESTRA / ORIGINAL SCHLEU SCHLEU / CREATION

Four great albums from this hip Haitian group – all packaged together in one nicely-priced set! First up is Back To Stay – a set that features Haitian grooves, but from the New York scene – making for an excellent mix of modes that really keeps things interesting! The core sounds have that bouncy vibe you'd expect from the Caribbean, but there's definitely some horn arrangements that show some American influences from funk and Latin, and maybe even a bit of jazz – all well-recorded here with a style that avoids any of the too-polished modes that can sometimes hold back a record like this. Tony Moise handles most of the arrangements and music – and also plays lead tenor – and titles include "Haiti", "Mariage", "Devine", and "Boat People". The other three albums – Les Bibles De Orchestras, Original Shleu Shleu, and Creation – all have a similar feel – and the 2CD package features 25 tracks in all! ~ Dusty Groove

IBO COMBO - LA FRAICHEUR

Great rolling grooves from the mid 70s – a Haitian combo who work here with plenty of jazzy touches! Guitar is often layered strongly in the rhythms – in ways that link the music strongly to African highlife of the same period – with lots of lively interplay alongside the group's tight percussion, organ lines, and work on sax and flute. Some cuts have vocals, but the instrumental interplay is what really drives the record – and tracks include "La Fraicheur", "Reve Douce", "Souffrance", "Naked", "Relem Ta Rele", and "Good Vibrations". ~ Dusty Groove

TROPICAL COMBO - CRECHE

A tropical combo, but one with a definite Haitian bent – from the French-language lyrics, right down to the warm rhythms at the core! The album's got a really great blend of trumpet, guitar, and accordion – the last of which is used more like an organ, in ways that are slow-paced, without the solo flourishes you'd hear in other genres – so that the instrument has this cool space-filling quality that's mighty nice! All three group members sing – and titles include "Papa Loco", "Plasir Teenagers", "Anita", "Information", "Timan Man Fe'm Douce", and "Information". ~ Dusty Groove

NEW RELEASES - THE NEW MASTERSOUNDS, THE SLAKADELIQS, JAKI GRAHAM

THE NEW MASTERSOUNDS - OUT ON THE FAULTLINE

As their live shows continue to charm audiences in USA, Japan and Europe, The New Mastersounds have built on their own impressive musical heritage and produced a soulful, funk-drenched eighth studio album - real instruments, recorded this time in downtown San Francisco. The record opens with a classic slice of organ funk (think The Meters, but edgier), quickly followed up with other seriously catchy syncopated gems full of solos, inventive arrangements and gang vocals. There's a nod in the direction of jazz-house (à laSaint Germaine), a rolling-piano-&-spoken-word homage to New Orleans (where the band has performed for the past six consecutive years), then a massive horn track before the tone of the album gradually shifts to close out with a psychedelic Hammond-rock sound reminiscent of Brian Auger. Eddie Roberts' vintage production delivers warm soulful bass, choppy drums, funky organ & piano, and with Eddie's signature roughneck jazz guitar throughout. Out On The Faultline is another corker of an album from the stalwarts of the global funk and soul-jazz movement. Click on the link to listen to their sounds: The New Mastersounds - Out On The Faultline

THE SLAKADELIQS - THE OTHER SIDE OF TOMORROW

A pretty great little project – a surprising turn for Slakah The Beat Child – working here as the leader of this groovy little group! The music has a lot less "beat" than before – and plenty of the warm sunny tones you might guess from the cover – a beautiful blend of soul and solid songwriting, with a genre-crossing approach that could well make these guys huge in years to come! Tunes are very well-written – and inflected by core instrumentation that often includes sweet violin, cello, and flute – which make for a great addition to Slakah's acoustic guitar, and the nicely punctuated rhythms that really get things going. The album's a great surprise – one of those special discoveries you'll be proud to get in on early – and titles include "Dream On", "Speed Of Time", "The Other Side Of Tomorrow", "Dear Lucy", "Keep Breathing", "Call Me Your Friend", "Beneath It All", and "Perfect Summer". ~ Dusty Groove

JAKI GRAHAM - FOR SENTIMENTAL REASONS

A long-overdue album from UK soul singer Jaki Graham – a vocalist who seems to have gotten better and better over the years! As you might guess from the title, a fair bit of tracks on the set are older standards – sung by Jaki in a jazzified approach to soul, with elements that are even warmer and more classic than her older recordings – almost a nod back to the generation of R&B before she got her start! The album's way stronger than we might have expected, and Graham's vocals are still right on the top of their mark – as you'll hear on cuts that include "God Bless The Heartache", "For Sentimental Reasons", "Summertime", "Unforgettable", "My Funny Valentine", and "Lover Man".  ~ Dusty Groove

ITALIAN MOVIE SOUNDTRACKS FROM ROBERTO PREGADIO, GIANNI FERRIO, BILL CONTI

ROBERTO PREGADIO - IL SORRISO DELLA JENA

An early 70s giallo soundtrack by Roberto Pregadio – who we know and love for some very cool and moddish jazzy soundtrack work a bit earlier on – and this is another groovy, yet necessarily seedy and sinister set from the under-appreciated composer! It revolves around a funky theme, with playfully-cooed female vocals – with some really sweet small combo, organ-flavored grooves throughout. The organ allows for some suspenseful and chilling moments when it's called for, but there's actually oddly breezy, early 70s kinda lounge funk vibe permeating this one most of the way through! 26 tracks in all – and all sequences on the title "Il Sorriso Della Jena". ~ Dusty Groove

GIANNI FERRIO - IL KILLER

A definite killer from the great Gianni Ferrio – one of his grooviest soundtracks ever, and a set that's filled with lots of mod 60s touches! There's a bit of electric sitar, cool bubbling Hammond, and even some jazzy horn parts that make for nice flourishes over the top – all changing up in cool and different ways from track to track – creating the kind of instrumental variety that we love in soundtracks like these! The album features vocals on two tracks – and titles include "Strana Gente", "Mr Ice Cream Again", "Week-End On Ice", "Billy's Ice Cream", "Pedigree", "Semifreddo", "Nuovi Ricchi", and "Fino All'Ultimo Gelato". CD also features 16 more bonus tracks – practically a whole extra album of music! (Limited to 500 copies.) ~ Dusty Groove

BILL CONTI - MADEMOISELLE DE SADE E I SUOI VIZI

A rare early soundtrack from Bill Conti – penned for an obscure Italian film in the years before his 70s blockbuster film scores – and done with a groovy groovy sound that's really outta sight! The style is much more mod than we've ever heard from Bill – funky in parts, and playful in others – with all the best range of instrumentation we're used to hearing from Italian composers of the time – a role that Conti fits perfectly with this sweet little score! The mood varies nicely from track to track – usually moving between upbeat numbers and mellower groovers – and there's a few great jazzy moments that stretch out longer than usual for this sort of score. 17 tracks in all – including a few renditions of the vocal number "Juliette"! ~ Dusty Groove

NEW RELEASES - FINIS HENDERSON, EDWIN STARR, CENTRAL LINE

FINIS HENDERSON - FINIS

A sweet 80s classic from Finis Henderson – and the kind of record that should have launched him on a much bigger run as a lead singer! Despite the plastic look of the cover, the album's really solidly put together – produced by Al McKay with a vibe that definitely echoes his work with Earth Wind & Fire – which means lots of jazzy inflections with the grooves, in a style that works perfectly for Finis' style of singing. And given that Henderson has a range that sometimes hits Philip Bailey territory, the match is a great one – and gives the album a sense of class that other Motown soul from the time didn't always have. Titles include "Lovers", "Making Love", "Skip To My Lou", "Vina Del Mar", "Crush On You", "I'd Rather Be Gone", and "You Owe It All To Love". (SHMCD pressing.) ~ Dusty Groove

EDWIN STARR - WAR & PEACE

A real breakout album for Edwin Starr – and the kind of full-on set that really helped give his music a bold new focus! Starr had already scored nicely on some playful tracks from the Motor City scene of the late 60s – but here, he emerges as a singer with a lot more depth than before – not only on the righteous tunes, like the classic title track – but also on some of the warmer ones too, which showcase a new adult style of singing we might not have expected a few years before! Unlike other Motown efforts of this level, there doesn't seem to be any core arranger and producer – which means that Edwin himself did an even greater job of pulling the whole thing together – a great run of tracks that includes the classic "War (What Is It Good For)", a killer version of "California Soul", one of the best Motown-penned tracks from the time – and the tracks "Time", "I Just Wanted To Cry", "All Around The World", "At Last I Found A Love", "I Can't Replace My Old Love", and "She Should Have Been Home". (SHMCD pressing.) ~ Dusty Groove

CENTRAL LINE - CENTRAL LINE

The sweetly grooving first album from Central Line – one of the few British soul groups to really kick it in the early 80s scene – with a catchy dancefloor sound that both encapsulates the era and lays down a killer groove for the ages! The album is a blend of bass riffing, keyboards, group vocals and nice electro touches – always done with a truly soulful approach as a perfect counterbalance to the breezy electronics! Upbeat and fresh early 80s modern soul that holds up better than most huge hits of the time! Titles include the killer opener "Walking Into Sunshine", plus "Don't Tell Me", "Shake It Up", "Breaking Point", and "I Need Your Love". (SHMCD pressing.) ~ Dusty Groove

NEW RELEASES - BILLY PRESTON, THE EBONYS, RAY, GOODMAN & BROWN

BILLY PRESTON - THE KIDS & ME

Billy Preston right in the middle of a classic 70s run – hitting a trademark blend of soul, jazz, and other groovy influences – all with a sound that's very much his own, and which puts him in the same company as Sly Stone or Stevie Wonder! Preston's market was a bit more mainstream than those two, but at this point in his career he's very much on top of his game – really pulling together all the experience of woodshedding in the 60s, and bursting forth with a sense of pop power and pride that's totally great! Billy plays a fair bit of different keyboards on the set – and rhythms run from the respected Preston romping modes, to others that are a bit more laidback and soulful. Titles include the hit "Nothing From Nothing", plus "St Elmo", "Sometimes I Love You", "You Are So Beautiful", "Creature Feature", "Tell Me You Need My Loving", "Sad Sad Song", and "Sister Sugar". (SHMCD pressing.) ~ Dusty Groove

THE EBONYS - SING ABOUT LIFE

The Ebonys sing about life, and a host of other groovy topics too – in this lost soul treasure from the 70s! The set is one of only two albums ever cut by The Ebonys – a consistently great group from the 70s, as is testified by their constant popularity in our racks! The quartet has a 3 man/1 woman harmony sound that's very hip – often applied to righteous themes worked out in a heavy soul mode, and which sounds just as great on the ballads as it does dancefloor numbers. This second album's got an even sharper edge than their debut – thanks to production and arrangements from Tony Camillo – who gives the album some great undercurrents of funk, and a slightly righteous style that reminds us of some of Norman Whitfield's best studio work of the time. Vocals are wonderful – with really great harmonies that balance out beautifully – in ways that are much more unified than other girl/guy soul groups. Titles include "Neighborhood Gossip", "Mr Me, Mrs You", "One Thing On My Mind", "Sing About Life", and "A Love of Your Own". ~ Dusty Groove

RAY, GOODMAN & BROWN - RAY GOODMAN & BROWN

Sweet silky harmony soul from the trio of Harry Ray, Billy Brown, and Al Goodman – the group's first album under a new name – after some previous indie work as The Moments! The album's got the group really stepping up with a rich new sound – drawing on all the best elements of their New Jersey roots, but hitting harmonies that are even more sublime – and put together perfectly by Lou Toby's arrangements. This debut from the trio's a real classic – proof that the indie group soul sound can make it to the big time – and although the lyrics are a bit off-beat, but that's always part of the charm of the group. Titles include "The Way It Should Be", "Inside Of You", "Treat Her Right", "Deja Vu", "Another Day", and "Special Lady". (SHMCD pressing.) ~ Dusty Groove

BILL TRUJILLO - VEGAS

What a Trip It's Been for Legendary Saxophonist Bill Trujillo, Who's Played With Frank, Dino, Elvis, Tony Bennett and Peggy Lee, and Now Takes Center Stage on 'Vegas,' a Jazz-Driven Homage to His Longtime Home Set for Release October 23 

A fixture for several decades in the orchestras at such legendary hotels as the Tropicana, Sands, Stardust, Dunes, Frontier, Flamingo and MGM Grand, Los Angeles native Bill Trujillo has made Las Vegas his home for 50 years while backing everyone from Frank Sinatra and his Rat Pack pals Dean Martin and Sammy Davis, Jr. to Elvis, Ella Fitzgerald and Peggy Lee.

Another legend on the veteran saxophonist's resume of icons is Tony Bennett, who called Bill's tenor solo during his performance of The Beatles' "Something" as the best he had ever heard. Even legendary jazzman Stan Getz trekked to The Strip to see Trujillo do his thing.

Now, with the October 23rd release of his traditional jazz driven full length album Vegas, the 82-year-old Trujillo is giving something back, adding a solo and riffs to a trippy, easy grooving title track that is poised to be Sin City's next theme song.

What Happens in Vegas Stays in Vegas? Catchy -- but not as hip, super cool and "now" as "What a trip it would be,..." the refrain written and spoken-sung, Bennett style, by the saxman's 85-year-old brother Chuck about crossing the desert and seeing your name up in lights back in the Rat Pack days. The colorful closer to the 13-track set is, like the rest of Vegas, a true family affair, featuring music composed by Trujillo's nephew Christopher and soulful background vocals of the saxophonist's daughter Michelle Marie, who sang in Las Vegas in the '70s and '80s.

The collection was produced and executive produced by Bill's son Nick Trujillo (www.nicktrujillo.com), who despite growing up in a musical household, successfully pursued a career in academia before entering the independent music world in a unique way several years ago after his wife died of ovarian cancer. Trujillo has recorded two CDs of quirky songs (Is That Viral Enuf 4 U?, That Is (Still) The Question) under the name Gory Bateson, the mythical nephew of the late British anthropologist Gregory Bateson. With Vegas, Nick adds acid jazz and bebop to his eclectic catalogue.