MOLLY HOLM - PERMISSION

Molly Holm has been a visionary presence on the Bay Area music scene -- as an original member of Bobby McFerrin's Voicestra, as a featured singer with Terry Riley and Zakir Hussain, as a Mills College adjunct faculty member -- for more than three decades. Her far-ranging artistic pursuits, however, have not included recording an album of her own -- until now. Holm's overdue and highly anticipated debut, Permission, showcases her unique, fully-formed jazz vocal artistry. The CD will be released February 19 on her Rinny Zin imprint.

"It is a debut in the sense that it is her first official offering under her name," writes CD annotator Tarabu Betserai Kirkland, "but given her long and extensive career as a jazz vocalist, improviser, composer, ensemble director, arranger, and educator, Permission is more of a continuum than a prologue."

Permission combines classic songs by Chick Corea ("Sea Journey"), Joe Zawinul ("Go There Now" aka "74 Miles Away"), Charles Mingus ("Goodbye Pork Pie Hat," with Rahsaan Roland Kirk's lyrics), Mongo Santamaria ("Afro Blue"), and Thelonious Monk ("Straight No Chaser") with six original compositions, some sporting her richly poetic lyrics. Holm's "The Bear" is a gorgeously harmonized a cappella piece performed by ten Bay Area singers, including Linda Tillery, Rhiannon, Raz Kennedy, and Nicolas Bearde, and was inspired by her former Mills instructors Pandit Pran Nath and Terry Riley. On the disc's opener, "Improvised Raga," Holm sings non-word syllables in the Kirana tradition of North Indian raga derived from Pran Nath, one of her major mentors.

"Instead of waking from a dream, I feel like a dream has awakened me!" says Holm. "I've had such wonderful opportunities throughout my performance career -- working with, and learning from, diverse and highly-acclaimed artists who know how to push the envelope. And now, to finally bring together my own musical ideas into a single recording, I have to say it does my soul good."

Besides members of Holm's own band -- pianist (and CD producer/arranger) Frank Martin, bassist Jeff Chambers, drummer Deszon Claiborne, and trombonist Wayne Wallace -- the participants include drummer Famoudou Don Moye, soprano and tenor saxophonist Larry Schneider, vocal percussionist Antonia Minnecola, pianist Bill Bell, bassist Mark van Wageningen, percussionist David Frazier, the late drummers Paul van Wageningen and Eddie Marshall, and some of the key singers who, like Molly, sang in the original Voicestra. All, with the exception of Art Ensemble of Chicago member Moye, are based in the San Francisco Bay Area.

Born in Salem, Oregon in 1954, Molly Holm grew up hearing Mingus, Ellington, Ella Fitzgerald, and Sarah Vaughan around the house and impromptu singing with her jazz-fan mother and four siblings. Joni Mitchell and Laura Nyro were important early vocal influences. "In high school," Holm recalls, "I learned to sing by listening to them. I didn't take voice lessons till I was 23."

Holm moved to the Bay Area at 18 to study at Mills, but followed a circuitous path of singing and study elsewhere before returning to complete her bachelor's degree in 1979 and a master's in composition in 1982. Her classes at Mills with Pandit Pran Nath, Terry Riley, and W.A. Mathieu had a lasting impact on her own music.

"One of the most important things I learned from Terry is that he's not afraid to just try anything," says Holm. "He doesn't seem to have any self-consciousness if he makes a mistake. I try to emulate that freedom, that lack of worry about making mistakes."

Bobby McFerrin first encountered Holm when she was directing a 14-member choir called Jazzmouth. He tapped her to run the yearlong auditions for an a cappella vocal ensemble he was putting together, and in 1986 she was one of ten singers handpicked to join him in that innovative new vocal orchestra, Voicestra.
"Bobby came up with the idea to use a group of singers by leading the improvising himself," she says. "He'd do the improvising and give the singers a repetitive part-circle singing or what we used to call 'add a part, change a part.' It was a huge thing to learn from him."

Holm subsequently used these lessons in various singing groups she's led, including her new women's group, Molly Holm and The Impermanent Ensemble; in classes she's taught at Folsom Prison, the California Medical Facility in Vacaville; and for the past 14 years as an adjunct faculty member at Mills.

In addition to her work with ensemble singing, Holm has self-produced concerts as a solo vocalist with rhythm-section support in years past, one of which led writer Fred Setterberg to describe her voice as "a fluid, birdsong alto, winding and lilting, with barely a hint of vibrato; a voice like the woody middle register of a clarinet." Her new CD gives her, well, permission to explore more deeply this aspect of her music.

Molly Holm will be performing a CD release show with her band (Frank Martin, Jeff Chambers, Deszon Claiborne, Wayne Wallace, Melecio Magdaluyo, Antonia Minnecola) on Sunday 4/21 at the Freight & Salvage in Berkeley.

www.mollyholm.com

NEW RELEASES - AZYMUTH, RAF VILAR, SEXY FI

AZYMUTH - LIGHT AS A FEATHER

Full length remixed and remastered version of this classic LP featuring 'Jazz Carnival' now available with bonus tracks, new mixes and remixes by Theo Parrish, Ashley Beedle, Mark E and more. In 1979 the band’s first Milestone Records release, ‘Light As A Feather’ quickly became one of the best-selling LPs of the year. Featuring the worldwide disco/fusion hit single ‘Jazz Carnival’ and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks. An incredibly well thought out album both in pace, song selection and musicality, ‘Light As A Feather’ marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a samba/jazz-funk masterpiece. Sadly with this re-release album well into production at the untimely recent passing of Jose Roberto Bertrami, ‘Light as a feather’ stands as a solemn reminder of our dearly departed friend and the effortless musical genius of Azymuth in their ascendancy

RAF VILAR - STUDIES IN BOSSA

Raf Vilar's Studies In Bossa deluxe digital edition (digital release) will be out on January 28 with extra tracks live at Maida Vale Studios for the BBC. “Fabulous new album...very beautiful...his debut album is classic bossa brushed with modern electronica flourishes. I absolutely love it.“ Jamie Cullum, BBC Radio 2; “Proof of a precocious talent enough to reach well beyond (a) niche market“  Songlines; “Carries bossa nova masterfully...reminiscent of a young Caetano Veloso“ Jungle Drums; “Stunning…gorgeous…so beautiful” Lucy Duran (BBC Radio 3); “This young Brazilian’s debut album avoids all the sun-kissed clichés with effortless aplomb. The production and arrangements are delightful. It’s as if we are hearing the very soul of these sometimes bouncily euphoric songs. The best bossa nova album I’ve heard in a while.” Howard Male (Independent/Arts Desk/Propaganda).

SEXY FI - NUNCA TE VI DI BOA

Alongside Brazil’s musical traditions exists a vibrant and contemporary musical landscape personified by the sultry yet captivating sound of Sexy Fi. Equal parts indie rock, blues pop and Brazilian soul, ‘Nunca Te Vi De Boa’ mirrors Brazil’s burgeoning role on the world stage. A metropolitan soundtrack to global living. From the sweet yet melancholic album’s opener ‘Bermas’ to the soaring horn-infused swankiness of ‘Loro Con Loro’ this album glides between moments of discordant angst reminiscent of Sonic youth and haunting muses of vocal-led pop sensibilities echoing Portishead. Including the stand out track “Keep Cooler” together with a remix by the very talented Born Ruffians (Warp Records), this body of work is a remarkable sophomoric effort defining the indie movement of Latin America. "Unlike anything on the Brazilian scene today" - MTV IGGY

~ faroutrecordings.com

COLIN STETSON / MATS GUSTAFFSON - STONES

Recorded live at the Vancouver Jazz Festival in 2011, Stones is the debut collaboration between groundbreaking saxophonists Mats Gustafsson and Colin Stetson. Both men are well documented as soloists and collaborators. For Gustafsson (tenor and baritone horns here) the list includes his own bands the Thing and Fire!, as well as Sonic Youth, Boredoms, Ken Vandermark, Joe McPhee, and Peter Brötzmann. Stetson (alto and bass saxes), a member of Arcade Fire's touring ensemble, has played with everyone from David Byrne and Laurie Anderson to Tom Waits, Feist, and LCD Soundsystem.

Comprised of four on-the-spot improvisations, these titles were inspired by the late poet Gunnar Ekelöf (the father of modern Swedish poetry). This is not a skronkfest in which two saxophonists go head on. Instead, these improvisations express a deep, wide-ranging communication that employs rhythm, dissonance, an unconventional yet clearly present lyricism, tonal and harmonic explorations, and various mechanical techniques. The technical prowess on display is considerable, but it is secondary to Gustafsson and Stetson making music together.

While the album begins slowly and purposefully, finding tonal commonalities in lower-end expression, it moves far and wide. A language is discovered very early, and what these two carve out in "Stones That Rest Heavily" and establish in "Stones That Can Only Be," are codes of speech: utterances, dynamics, spaces, exclamations, and textures. They are the building blocks of a mysterious, even beguiling conversation. But that speech is not limited; they don't stay in one place long enough to be weighted by their discoveries; they push at them until they give; going underneath them into their core, which in turn becomes the articulation of music's own multifaceted expressive poetics.

Though immediately drawn in by the proceedings, by the time we encounter "Stones That Need Not," and closer "Stones That Only Have," even the human voice is utilized in a string of fluid inventions and exchanges that are startling in their complexity, intuition, and emotion. The listener is not excluded from this conversation. Instead, it is extended to her via the duo's adherence to close listening and the economy of their individual and collective expressions. With Stones, Gustafsson and Stetson have encountered not only one another in a magical way, but they communicate the power of beauty itself. ~ Thom Jurek

JOSHUA KWASSMAN - SONGS OF THE BROTHER SPIRIT

The journey from adolescence to adulthood can be a harrowing one. For composer and saxophonist Joshua Kwassman, that was true in a very literal sense, as a three-day bike trip, in August 2010, with an idolized childhood friend collapsed into chaos and shattered his youthful illusions. While that trek itself found Kwassman growing up in a hurry, his musical recounting of the experience marks the debut of a remarkably mature young composer. Songs of the Brother Spirit, which will be released March 12 on Truth Revolution Records, spins the tale of that friendship into a moving, richly-hued collection of music influenced by composers from Ravel and Rachmaninoff to Maria Schneider and Vince Mendoza.

The disc climaxes in the three-part suite "The Nowhere Trail," which follows Kwassman and his friend Justin through that ill-fated bike trip. "I learned to be an adult through that experience," Kwassman says of the journey. "The essence of this album is about going through our relationship and how that has translated to my life."

Kwassman conveys this autobiographical account through lush, modernist arrangements that suggest an ensemble much larger and more varied than its six pieces. The group assembled for the project includes the composer himself on a variety of woodwinds, the ground-breaking guitarist Gilad Hekselman; guitarist Jeff Miles on "The Nowhere Trail Part I"; and the wordless vocals of Arielle Feinman, a classmate at the New School for Jazz and Contemporary Music.

"She has this insane bel canto operatic training and an almost unlimited range," Kwassman says of Feinman. "There's a lot of depth in the kind of textures she can create with her voice. I think vocals bring a human quality to the music that no other instrument can."

Feinman's voice combines with Kwassman's melodica to create the intoxicating melody of the opening track, "Our Land," which examines the composer's friendship with Justin at a more idyllic time. The piece is driven by the pulsing piano of Adam Kromelow (who shares keyboard duties on the album with Angelo Di Loreto) and the shimmering guitar tones of Hekselman.

The piece is set at a time when Kwassman still looked up to his friend, when the two bonded over listening to jazz records for hours at a time. "We grew up together through music, listening to Miles Davis and Wayne Shorter and Coltrane," Kwassman recalls. "I bonded to him deeply through this music. So when I was writing the first piece on the album I was excited about sharing with him, thinking we'd be able to bond over something I had created in the same way we had with Miles."

Those early listening experiences decided Kwassman on a path to jazz composition. He studied at NYU, where he earned his Masters in the jazz program. He has since received two ASCAP Young Jazz Composer awards and performed with artists like Badal Roy, Ingrid Jensen, Mark Turner, and Geoffrey Keezer. But his main focus is on his own music, which reflects a wide range of influences from the innovative big band work of Maria Schneider and Darcy James Argue to forward-thinking composers like Pat Metheny and Brian Blade. Songs of the Brother Spirit evidences a gift for vivid communication and transporting emotional colors. As Kwassman succinctly says, "My goal is always to tell a story."

Kwassman's story began in Newington, Connecticut, a small suburban town outside of Hartford. He revisits that quiet childhood on "We Were Kids," which begins on a note of wistful nostalgia before an extended Hekselman solo carries it into a more intense space as the responsibilities of adulthood begin to interfere, before resolving back into the same tenderness.

Another key aspect of growing up is the loss of a loved one, an experience encapsulated on "In Light There Is Song." The piece is dedicated to George Stevens, a teacher of Kwassman's in high school who became a mentor and hero and who succumbed to leukemia during the composer's freshman year in college. "I'm not very religious," Kwassman says, "but this piece represents his soul moving from the earth and the imprint his memory has left on my mind." Bassist Craig Akin and drummer Rodrigo Recabarren buoy the fragile, weightless atmosphere of the piece.

"2/22" showcases the flip side of death, named for the birthdate of Kwassman's niece, his first experience with a new life born into his small family. The piece captures the delicate reverence that greets a newborn baby. It's followed by "Meditation," a rumination on mortality inspired by Kwassman's realization, which struck him during a family vacation, that he would one day lose his parents.

"I remember sitting on the beach, looking at the water, and thinking about the fact that my parents won't be there one day," he recalls. "That hit me so hard; I really grappled with the idea. 'Meditation' takes you through that thought process, the surprise and the anticipation of sadness and the weirdness that you feel imaging life without your parents."

The album closes with the aforementioned "The Nowhere Trail," each of its three pieces corresponding to a day on his disastrous bike trek with Justin. The suite illustrates the chaotic, poorly planned sojourn like the soundtrack to an imaginary film of the events. It depicts their uncertainty and exhaustion, the unraveling of their friendship and the eventual relief of coming home. In the end, it becomes cathartic as the experience was in life, renewing their friendship on a more even ground.

"It ultimately was a positive thing," Kwassman says, "because I could look at Justin on equal footing as opposed to someone I looked up to. I think it was really important for me to grow up and see the world through my own eyes as opposed to looking at it through somebody else's."

Songs of the Brother Spirit is the product of that experience, the document of an assured composer confidently allowing listeners to view the world through his own unique perspective.

Songs of the Brother Spirit Personnel & Track Listing:
Joshua Kwassman / Alto and Soprano Saxophone,
Clarinet, Flute, Melodica, Piano (4)
Arielle Feinman / Voice, Glockenspiel
Gilad Hekselman / Guitar (1, 2, 3, 4, 7, 8)
Jeff Miles / Guitar (6)
Angelo Di Loreto / Piano (5, 6, 7, 8)
Adam Kromelow / Piano (1, 2, 3)
Craig Akin / Bass
Rodrigo Recabarren / Drums, Percussion

1. Our Land - 9:34
2. We Were Kids - 6:31
3. In Light There Is Song - 12:26
4. Interlude - 5:15
5. Meditation - 4:49
6. The Nowhere Trail Part I - 11:50
7. The Nowhere Trail Part II - 6:37
8. The Nowhere Trail Part III - 8:54

Upcoming U.S. Performances
March 16 / Buttonwood Tree / Middletown, CT
March 23 / Vermont Jazz Center / Brattleboro, VT
March 26 / Rockwood Music Hall Stage 2 / New York, NY
June 11 / Catalina's Jazz Club / Hollywood, CA
June 12 / Dizzy's / San Diego, CA

www.JoshuaKwassman.com

DIEGO GARCIA - LAURA

Born in Detroit to Argentine parents, Diego Garcia traces his diverse roots on his debut solo album, Laura. Garcia was inspired by the loss of love and the classic troubadour movement. “Artists like Sandro, Roberto Carlos and Julio Iglesias were early pioneers in a movement of romanticism in music. It only made sense for me to pick up where they left off,” he says.

It is the fusion of these Latin influences with the era’s “Anglo” visionaries, artists like David Bowie, Leonard Cohen, and Bryan Ferry that makes this project truly special. With lush string arrangements, delicate Spanish guitars, and distinctly Latin flavor, the new album is worlds apart from Garcia’s former band Elefant, a post-punk rock band that entered the music scene alongside The Strokes and Interpol. What remains a constant in Garcia’s new work is the romantic within and the distinctly modern sound.

“For the last four years, I’ve been following my instincts in search for a new sound. A sound that could properly deliver my message on love, or I should say, the ‘malady of love.’ Minor keys, cello, nylon classical guitars, light drums, and wooden tambourines helped create a vibe for me to whisper the words in her ear,” Garcia explains. “So with each new song came a little healing until I eventually started feeling ‘better.’ The irony is that as soon as I accepted closure, my heart opened up and the sound was born. I was ready to love again.”

Garcia’s first single, “You Were Never There,” paved a foundation for the new project. RCRD LBL pledged its support early on saying, “With a flickering, old school touch, Diego Garcia’s croon is one for the bedroom. ‘You Were Never There’ is today’s aural aphrodisiac— a gentle flush of guitars and strings, yelping hooks, and love-worn lyrics.” PAPER Magazine raved, “I can't stop listening to it… The tune has lush string arrangements, guitars and vocal intonation. It's romantic and blissful.”

Six months later, the release of Garcia’s new album, Laura, neared and Los Angeles’ tastemaker radio show KCRW “Morning Becomes Eclectic” immediately jumped on board with heavy rotation. A week before release, NPR and KCRW premiered the full album with dual glowing reviews. KCRW DJ Anne Litt, one of the first to spin Garcia’s new songs, described the album as “A wonderful amalgamation of Diego’s Argentine heritage, 70’s AM pop radio, and the dusty sounds of dreams.”

Starbucks spotlighted “You Were Never There” with a “Pick Of The Week” download card spread throughout its stores in the first month of release. Billboard Magazine praised Garcia for his “melodic pop sensibility” and “stellar solo debut.” Philadelphia’s WXPN raved, “Laura is a warm, lush and beautiful collection of baroque/chamber inspired classic singer-songwriter material.”

My Old Kentucky Blog described Laura as “stunning… the best record you never dreamed you’d hear in 2011. Dark, urgent and cinematic.” The new album quickly shot up the charts, breaking into the iTunes Alternative Top 15 albums, alongside new releases from artists like The Strokes and Death Cab For Cutie.

JENI FLEMING - COME TO LIFE

After six successful albums Jeni says Come To Life is the most accurate representation of myself as a musician and as a person. It's as if the first 6 [albums] were just practice." Come To Life was met by much acclaim, its biggest coup being that it defies easy classification, while somehow avoiding to seem haphazard, no small feat. From originals, to re-arranged jazz standards, to The Beatles, Dobie Gray, Jobim, Willie Nelson, this album could easily feel disjoined if it weren't delivered by the same honest and powerful voice. It's as if  Jeni has become simply another instrument in the band; able to to adjust tone, volume, emotion, and sincerity with the touch of a button, solely to serve each song.

Her signature ballads drip with so much emotion that an audience member suggested adding Kleenex boxes on each chair in her Tech Rider. This is no more apparent than in her rendition of Willie Nelson's "Angel Flying Too Close To the Ground." And yet to categorize her simply as a balladeer or troubadour is missing the mark. Make no mistake, this girl can make you giggle, ponder, and cry all in one song. "Don't Get Around Much Anymore" was arranged to help better marry the lyric content to the music, and the result is simply tragic in a confessional way. Rearranging an anthem like "Drift Away" is a bold move at the very least, and yet Jeni offers another way to think and feel about this song. And lest we suggest that Jeni takes herself too seriously, "Chega de Saudade" is simply, fun. Jeni is currently touring in promotion of Come To Life. With every performance the songs and stories of Jeni Fleming are winning the hearts of audiences from coast to coast. Catch her soon, and often. "JENI's appeal transcends generations and genres! Fleming offers a range and depth capable of raising goose bumps on an August night." ~ The Tributary Magazine 

NEW RELEASES - KEVIN HAYDEN TRIO, BOOKER T, ARETHA FRANKLIN

KEVIN HAYDEN TRIO - ILLEGAL PLAYLIST

Milwaukee-based Kevin Hayden Trio will return in April with their third studio album and the follow-up to 2012’s Paris, entitled Illegal Playlist. The new album will be co-produced by Chicago's nationally recognized jazz pianist, Greg Spero (Buddy Rich Big Band) who recently appeared in London with drumming legend Dave Weckl. Lead by drummer Kevin Hayden, the trio features Terry Harris Jr. on piano and younger brother Alan Harris on bass. They come together once again to give listeners a jazz rooted, genre crossing album that boasts a special guest appearance by hip-hop artist Klassik. Klassik recently performed with the Kevin Hayden Trio in a collaborative show headlined by grammy nominated pianist, Robert Glasper of the Robert Glasper Experiment.

BOOKER T - EVERGREEN

A surprisingly great album by Booker T – recorded after his Memphis years with The MGs, and his duets with Priscilla – and done in a sweetly mellow style that has Booker emerging as a whole new style of songwriter! As with all the post-MG albums, Booker sings lead vocals on all tracks – in a gently, almost folksy mode that fits beautifully with the compressed production of the set. There's almost a Terry Callier-ish quality to a few of the cuts, and on others, Booker's hitting a cool LA style that's kind of a west coast take on the Memphis vibe – but with a few more rock-based touches. Book plays a bit of organ and some keyboards on the set, and titles include "Jamaica Song", "Mama Stewart", "Flamingo", "Tennessee Voodoo", "Lie To Me", and "Evergreen". CD features lots of bonus tracks too – "Life Is Funky", "Take Me To The River", "A Whiter Shade Of Pale", "Higher & Higher", "Love Is Strange", and "Evergreen (single version)". ~ Dusty Groove

ARETHA FRANKLIN -IN THE BEGINNING: THE WORLD OF ARETHA FRANKLIN 1960 - 1967

A sweet overview of the early years of Aretha Franklin's career – her formative days at Columbia Records, when she was working in a variety of styles before heading over to bigger fame at Atlantic! Even at this early stage, Aretha's one hell of a singer – and, despite what folks who listen to Jerry Wexler might say, this early Columbia work is pretty darn amazing throughout – steeped in a number of different modes, with bits of jazz, R&B, and early soul sewn together beautifully throughout. The double-length set is filled with key early moments from Aretha – and titles include "Don't Cry Baby", "Lee Cross", "Skylark", "One Step Ahead", "Evil Gal Blues", "Take A Look", "Runnin Out Of Fools", "People", "Try A Little Tenderness", and "Take It Like You Give It". ~ Dusty Groove

ARNOLD JARVIS - JUST SAY IT

Trippin Records Presents a brand new album from one of the legendary voices of House: Arnold Jarvis produced by Timmy Regisford.

Throughout his career, Arnold has been nothing but consistent – consistent when it comes to releasing quality music. His is a brilliant career that began at the prime of his youth. While only a teenager his voice & talent landed him front and centre of a local Baltimore Gospel Choir for whom he was a prodigious soloist. In 1984, modest academic pursuits led him to NYC, however his talent and love of music did not lie dormant for long. He was drawn to music industry circles and was quickly embraced by them. He began to write, perform & record, and among the more noticeable gems from his early period in his career are collaborations with Frankie Knuckles on And I Loved You (a song written by Robert Owens & Satoshi Tomiie), Color of My Skin with Swing 52, Inspiration produced Kerri Chandler and his debut single Take Some Time Out produced by Tommy Musto & Yvonne Turner which enjoyed huge success.

The 21st century has seen increased impetus & creative output from Arnold, with a plethora of releases from in conjunction with artists such as MAW, Jazz n Groove, Eric Kupper, The Basement Boys, Louie Vega & Benji Candelario to name a few.

Aimed squarely at the dance floor, Arnold’s third full-length album Just Say It is a collection of new material that should grace every DJs collection, with NYC’s Shelter Maestro Timmy Regisford on production. ~ LoungeMotion.com

DEE C'RELL - THE BIRTH OF CONTEMPORARY ELECTRO-ACOUSTIC JAZZ

Due to Dee C’rell’s musical compositions and academic writing, the conceptualization and terminology of Contemporary Electro – Acoustic Jazz, as an alteration to the methodology and compositional techniques of Electronic jazz and improvisation, is directly accredited to Dee C’rell. He first wrote part one of the treatises of The Birth of Contemporary Electro – Acoustic Jazz whilst studying with Professor Dennis Smalley, Professor Alexander Lingus, Professor Steve Stanton, Doctor Newton Armstrong, Doctor Miguel Mera, Doctor Katherine Norman, Professor Melania Bucciarelli and Professor Aki Pasoulas at City University in London.

The subsequent recordings of The Birth of Contemporary Electro – Acoustic Jazz, Form 1 and Form 2 (along with the further inclusion of Hymn from Journeyman), are the first recorded compositions of Dee C’rell’s pursuit of this new music making practice and academic ideology. The soundscapes and musical structures of these compositions encourage the listener to re-focus and perhaps more importantly question, just what it is that we sonically examine within the structure of sound within compositions or popular song? These musical works further embrace what Dee considers as a combination of both “technological sound compositions and improvisation,” and here he suggests new ideologies within electronic jazz and its subsequent performance techniques. Dee encourages us as (the listener), to perhaps renegotiate our traditional listening experiences and further our perceptions of composition and improvisation. Here the compositional techniques of The Birth of Contemporary Electro – Acoustic Jazz embrace the traditional music making practices of the past whilst thoroughly widening the compositional pallet of such possibilities within our future.

Included alongside Dee C’rell in these recordings are: Norwegian child prodigy and Jazz Trumpeter, Audun Waage. Richelle Claiborne, who is considered as one of the most outstanding poets of her generation from America, and the improvisational vocal techniques of Jon Martin from the United Kingdom; known for his work as Pizzaman with Norman Cook and as a photographer living in New York.

The Birth of Contemporary Electro – Acoustic Jazz is one of the most distinctive compositions within Jazz and electronics, as Dee C’rell explains, “Some say it is perhaps a glimpse of tomorrows art music today? I cannot say either way, but I hope people will embrace the possibilities of further advancements.

www.deecrell.com

CHARLIE WINSTON - RUNNING STILL

“My sole objective on the album was to be able to engage people’s feet first and slowly rise to the mind,” he says. “So by the time they get absorbed in the lyrics, they’re fully engaged but realize there’s something more going on.”

Opener ‘Hello Alone’ makes for an inviting call, a shared solitude, if you will, that’s at the root of the art experience. But the next song, ‘Speak to Me’, makes it clear that no one should limit Winston in terms of expectations, the all-vocal beat-boxed tour de force showing one of his many facets, with more to come. The snappy ‘Happiness’ offers soulful yearning, ‘She Went Quietly’ is a searching piano ballad (inspired by a heart-wrenching tale of separation involving his great aunt and, to lesser though crucial extent, the movie Million Dollar Baby). ‘Until You’re Satisfied’ is ‘80s-referencing pop-funk celebrating Winston’s Prince fandom. ‘Lift Me Gently’ is a stand out track for Peter Gabriel – “An amazing song, and possibly the best Charlie has ever written….”. ‘Wild Ones’ is charging blues-rock, ‘Rockin’ in the Suburbs’ is all vibrant energy … and that’s just part of the picture. Not a surprise given that Winston also, with natural ease, refers to such diverse inspirations as Nick Cave, Steve Reich and Jacques Brel (and T.S. Eliot, Wim Wenders and Ingmar Bergman, for that matter) in discussing the album.

“It’s near impossible for me to write in one style only,” says singer/songwriter Charlie Winston. “And today in my generation of songwriting, there’s a bit of a lack for me. People have forgotten the power of song, since the technology swept through, and how it carries. Coming from parents who are songwriters, that’s my No. 1 thing, really.”

~ Giantstep.net

LONELY & BLUE: THE DEEPEST SOUL OF OTIS REDDING COLLECTS SOUL LEGEND’S POIGNANT BALLADS

Packaging evokes the look and feel of a late ’60s Stax/Volt album that Redding might have released at the height of his career.

Otis Redding’s Lonely & Blue: The Deepest Soul of Otis Redding could pass for a title Stax/Volt might have released in the late ’60s. The look of the album reflects Stax’s design themes of the era. But in fact it’s a collection that never existed, until now, that homes in on one mood and one theme —heartbreaking, yearning ballads — of which Redding had many. The album will be released March 5, 2013 on Stax Records through Concord Music Group.

Lonely &; Blue: The Deepest Soul of Otis Redding contains the hits (“I’ve Been Loving You Too Long,” “These Arms of Mine,” “My Lover’s Prayer,” “Free Me”) alongside many lesser-known songs (“Gone Again,” “Open the Door,” “Waste of Time,” “Everybody Makes a Mistake,” to name a few). They’re all included in this compilation because they share the tangled theme of sorrow.

According to compilation producer David Gorman, “Given how nobody delivered a gut-wrenching sad song like Otis, I always felt he should have made an album you could put on late at night and settle into with a glass of something strong. The mood and the subject of every song is the same — Otis, heartbroken, and begging for love. I tried to find the saddest most potently heartbreaking songs he ever sang, with no regard for chart position or notoriety. There are a few hits on the album, but they’re there because they fit the mood, not because we wanted to include the hits.”

For instance, an alternate version of “I’ve Got Dreams To Remember” features lyrics that are darker and tell a more personal story than the better-known hit version. Little-known tracks like “Gone Again” and “A Waste of Time” are given the same weight as “I’ve Been Loving You too Long.” The motif of love is even subtly addressed in the sequencing, the album closing with “Send Me Some Lovin’” and “My Lover’s Prayer.”

The concept of Lonely & Blue: The Deepest Soul of Otis Redding plays out in the packaging as well, which was intentionally designed by Gorman to look as if Redding actually did put this album out at the height of his career. The typography, color palette, and layout are all meant to adhere to the Stax/Volt LP designs of the time. This extends to the liner notes, which are written in the present tense and credited to a fictitious DJ so that they read as if they were written while Redding was alive at his peak.

“The goal,” explains Gorman, “was to create the best album Otis never made and ‘reissue’ it in 2013 rather than do another hits compilation. We hope this album will reframe him as something more than an oldies radio staple and become his Night Beat (a classic 1963 Sam Cooke LP) — the album that exists as a starting point for people wondering why so many consider Otis Redding the greatest soul singer of all time.”

Track Listing:
1. I Love You More Than Words Can Say
2. Gone Again
3. Free Me
4. Open the Door (Skeleton Key Version)
5. A Waste of Time
6. These Arms of Mine
7. I’ve Been Loving You Too Long (To Stop Now)
8. Everybody Makes a Mistake
9. Little Ol’ Me
10. I’ve Got Dreams to Remember (Rougher Dreams)
11. Send Me Some Lovin’
12. My Lover’s Prayer

NEW RELEASES - STEVE LACY, OTIS CLAY, LOL COXHILL

STEVE LACY - HOOKY: SOLO IN MONTREAL 1976

Nobody's playing hooky here – as Steve Lacy's very strongly in attendance, and turning out some wonderful solo work throughout! This sparkling 70s performance was captured live in a cathedral in Montreal – a wonderfully echoey space that only seems to open up Lacy's sound even more – allowing for fluid lines from the soprano sax that bounce out and around the large open space – not really folding back on themselves, but creating a depth that seems to give the record even more soul than other Lacy experiments of this type! The whole thing's great – and titles include "Crops", "The New Duck", and "No Baby". And the CD adds in loads of bonus tracks added to the original Quark LP – 9 more numbers, making for one heck of a long album! ~ Dusty Groove

OTIS CLAY - TRUTH IS

Otis Clay, still going strong – stepping out here on a sweet new recording from the Chicago scene – done with that warm mix of modern modes and deep soul roots we really love from his work of the late 70s! Clay's vocals have, if anything, only gotten better with age – really able to find the right notes and inflections to make the music sparkle – even more so than some of Otis records from back in the day! Instrumentation is relatively laidback – done in a mode that's a bit like some of the Jackson or Memphis styles at the start of the 80s, but without any of the bluesy inflections that might get in the way of the sort of solid soul performance that Clay delivers here. The legendary Tom Tom 84 handled many of the arrangements on the set – and although most of the material is new, Otis also tweaked a few older favorites for the set – to make for a nice long album, too. Titles include "Love's After Me", "All That's Missing Is You", "Walk A Mile In My Shoes", "Even Now", "I Thought You Knew", "Truth Is", "I Know I'm Over You", "Even When I Win", "I Keep Trying", "Steal Away To The Hideaway", and "The Only Way Is Up". ~ Dusty Groove

LOL COXHILL - SPRECTRAL SOPRANO

A really rich document of the charms and talents of reedman Lol Coxhill – a set that features music from a wide range of scenes and settings in Lol's long career – including bits of hardbop from the 50s, R&B from the 60s, and a wide range of great performances from later years too! Coxhill's a hell of a player who always seems to shine, no matter what the setting – and this package is almost like a combination of the sharp edges of the Emanem recordings, the moodier feel of the Virgin albums and some of Lol's rockish work, and the charming whimsy of the Nato years too – all topped off with a few historic elements that only add to the color and tone of the package – especially given that the tunes aren't always presented in chronological order. We're under the impression that most music is exclusive to this set – and tracks include "Bad Boy", "Autumn In New York", "Vermillion Sands", "Three Go To Letchworth", "Out Of Nowhere", "Uptown Top Ranking", "Magic Buffalo", "A Brief Introduction To Sax", "Murder In The Air", and "Resonance". ~ Dusty Groove

MONDAY MICHIRU - DON'T DISTURB THIS GROOVE

Monday Michiru stands as one of Japan’s finest soul and R&B singers of the 1990s and whose cosmopolitan sensibility and mixed nationality have made her stand out among her contemporaries. Regarded as one of the pioneers of Japanese club music, she was born in 1963 in Tokyo to pianist Toshiko Akiyoshi and alto sax jazzman Charlie Mariano but raised in the United States.

Michiru originally kept her father’s last name, then briefly adopted Michiru Akiyoshi as a screen name in the mid-’80s, but settled on her current name at the time of her debut album (Michiru is her middle name). Originally, she was an actress and first came to the public’s attention when she was awarded a prize at 1987′s Yokohama film festival for her performance in Hikaru Onna.

But, come 1991, her attention had gone to composing music and performing, appearing in small Tokyo jazz clubs and releasing her first album Mangetsu. While it didn’t sell millions, it did bring her to the attention of Tokyo’s burgeoning dance and acid jazz scene and soon she was appearing on records by Mondo Grosso, DJ Krush, Kyoto Jazz Massive, and United Future Organization, and easily slotted into the model of the soul chanteuse, such as Jhelisa or Cassandra Wilson.

Signed to Kitty Records, she released an album a year, including 1994′s Maiden Japan and 1995′s Jazz Brat, a maturation of her sound. Songs were still funky, but Michiru dabbled in hip-hop, rap, jazz ballads, Latin, and rock. Her lyrics are often probing examinations of culture in Japan, especially as it pertains to women. In 1997, she left Kitty for the larger label Polydor and also turned to composing and producing for other acts, including Yoko Oginome and UA, and occasionally appeared on the club circuit as a DJ. Her album Double Image is considered by many to be her finest works. In 1999, she ditched the heavy production for a stripped-down acoustic sound on Optimista. In 2001, she went on hiatus to start a family. ~ SmoothMotion.com

Her latest release, Don't Distrub This Groove includes 10 tracks:
01. Ooh La La La
02. I Can’t Help It
03. Um Amigo
04. Best of My Love
05. You Are the Universe
06. Dreams Of Tomorrow
07. Don’t Disturb This Groove
08. As
09. I Know You, I Live You
10. No Woman No Cry

GIANNI VANCINI - SOULS UNITED

Gianni Vancini studied saxophone under the instruction of Angelo Gabrielli and graduated with highest honors at the "Vecchi-Tonelli" Master Institute of Musical Studies in Carpi (MO) – Italy. In 1996 he enrolled in a stage and workshop offered by the New World School of the Arts in Miami and played in concerts presented by them at the Lincoln Theater in Miami as well. In the following years, he refined his studies in jazz music participating in courses offered by world famous musicians such as Eric Marienthal, Bob Franceschini and Achille Succi.

In the working field he has had numerous duet experiences with pianists Carlo Guaitoli and Paolo Andreoli performing in prestigious Italian theaters such as the Regio Theater of Parma, The Valli in Reggio Emilia and the Ventidio Basso in Ascoli Piceno. Among the classic composers of the saxophone literature he has studied the music of Ibert, Debussy, Bonneau, Vellones, Singelee, Piazzolla and Gershwin.

In the light music field, thanks to his collaborations with various artists, he has been featured in many television shows such as Pavarotti International, the Festival di San Remo, Roxy Bar, Video Italia, Domenica In, Uno di Noi, Un Disco per L'Estate, Saint Vincent, Scalo 76 and Domenica 5.

He has worked with musicial talents such as Antonella Ruggiero, Spagna, Fausto Leali, Enrico Ruggeri, Amedeo Minghi, Iva Zanicchi, Gianni Morandi, Lucio Dalla, Ron, Stadio, Barbara Cola, Katia Ricciarelli, Ami Stewart, Kid Creole and the Coconuts and Carl Anderson.

From 1997 he has been continuiously collaborating with singer/songwriter Andrea Mingardi and since 2002 with Umberto Tozzi. Together they have played on some of the most prestigious stages like the Ariston Theater (Sanremo 2005), the Olimpya in Paris, La Quinta Vergara (Vina del Mar-Chile), La Fenice Theater in Venice, Teatro Sistina, Il Gran Teatro and the Auditorium in Rome as well as in more than 10 countries worldwide.

His first album is entitled Souls United and it is co-produced with Thomas Bank and recorded in Amsterdam. Many artists participated in the album and a special mention goes especially to Eric Marienthal, Umberto Tozzi and Andrea Mingardi. He is entitled to teach Master Class at national and international level.

FOUR80EAST - OFF DUTY

Rob DeBoer and Tony Grace, the pulse of Four80East, have massaged and presented their brand of contemporary jazz in so many salient ways, attracting not only countless admirers as fans but colleagues in the business who are heavyweights in their own right. Theirs is truly one of the household names in this biz. Now, the Canadians are back again with a gem called Off Duty which again toys with the many moods and sounds of the genre as seen through their eyes and felt through their souls.

Charging out with a funky, upbeat lead track called “The Walker” that’s on fire with serious groove, these veterans of the jazz vibe with an edge escort us through some very solid material here, regularly changing musical landscapes along the way (for example, witness, in addition to the lead track, the cool interplay between guitar and keys on the slick mid-tempo “Cashed Out” followed by “In the Hidden Garden” which thrusts a beautiful combination of keys, trumpet, and flute into the forefront).

Four80East has been tantalizing and satisfying our taste for “outside the box” jazz for about 15 years now. It’s probably quite easy to classify their style as being that of acid jazz–and you’d probably be more accurate than not—but who cares? Whatever it is they bring to the table, it usually works. Using every means at their disposal to arrive at the unique sound and quality that is their signature has truly served them well, and this album is no different.

On this album, the potpourri of styles is as you would expect from this band. For example, there’s the world-flavored, not-to-be-pigeonholed “Nothing is Written,” as well such gems as your typical favorite in smooth jazz found on the laid back and melodic track “With You,” the mellow, trumpet-driven and electronically-enhanced “Picking Up The Threads,” and the even more electronica-themed, reggae-influenced “Vaporized.”

Whatever mojo Four80East tapped into long ago has remained with them to date. When you work with a formula that has been as accepted as theirs, the old “if it ain’t broke, don’t fix it” adage works just fine. ~ Ronald Jackson

Track Listings
1. The Walker (4:59)
2. Sandbar (5:46)
3. Cashed Out (6:08)
4. In The Hidden Garden (5:45)
5. Nothing Is Written (6:37)
6. Spun (5:41)
7. With You (4:22)
8. Picking Up The Threads (5:59)
9. Vaporized (4:28)
10. Gare Du Nord (6:20)

PAUL WHITLEY - VERSATILITY

Versatility is more than just the title of his album. An extremely versatile musician, Paul Whitley is fluent in many different styles of music. Ranging from the sounds of Gospel, Neo Soul, R&, Soft Rock, Contemporary music, to the groove of Jazz. Paul’s humble beginnings started at the age of 8 when he started playing drums. By the time he hit 16 he was playing piano after his father prayed for his hands.

He has performed with a diverse range of artists such as Marvin Sapp, John P. Kee, Byron Cage, Donnie McClurklin, Dorina Clarke-Cole, Maurette Brown-Clark, Jonathan Butler, Wes Morgan, and William Becton, Jazz artist- Steve Cole, Joey Sommerville, Elan Trotman, Lin Roundtree and Walter Beasley. He has also worked with many choirs, music workshops and numerous of bands along with his appearances on television, magazines and radio stations. The virtuoso’s playing and sound has attracted many to his unique style. Some of his musical arrangements include “Grateful” and “Awesome God” featured on Ricky Dillard & The New Generation Chorale’s Project, as well as Arkansas Mass Choir’s “He’s Done Enough”.

Paul’s current project, Versatility is a collection of 15 original songs. The CD builds on a broad stylistic range musically, from the highly charged, gospel – influenced, jazz and soul with accompanying vocals.

“I’m not interested in fame and glory. I just want to relay the message that music produces a pleasure, an experience that you can’t live without. In many different languages music speaks expressions from the heart that brings comfort, happiness and joy; producing rest that flows from heaven to the soul.”

It’s no surprise his versatility keeps him in demand. In addition to playing the piano and keyboard, he has also accomplished the bass guitar, lead guitar and acoustic guitar. Paul has an amazing drive and creative vision to further develop new sounds and musical cultures into his music. With a dream in his heart and a passion for the love of music, his goal is to run with the gift that God has placed inside of him.

As a music instructor, Paul teaches adults and children the art of music from the basics to the advanced.
As he puts it,” Music and rhythm is a gift from God… it’s a message that carries a sound.” ~ SmoothMotion.com

JAZZ SUPERSTARS RICK BRAUN AND RICHARD ELLIOT TURN UP THE HEAT IN DETROIT THIS VALETINE'S DAY

This will be the first premier jazz concert of the year featuring two legendary contemporary jazz artist and hosted by one of Detroit's own. Valentine’s Day is about love and romance. Trumpeter Rick Braun and sax man Richard Elliot promise to make this Valentine’s Day even hotter. Circle February 14th on your calendar because that is the date the hit men will deliver a cool-jazz treat in what will be the first premiere smooth jazz event of the year.

With 24 solo albums between them and a massive catalog of chart-topping radio hits, the thrilling collaboration between Braun and Elliot has been one of the top shows to ever tour the country. They have toured together for years and have made guest appearances on each other’s records. “We’ve had so much fun playing together live that it was time for us to get together musically,” declared Elliot. “We have different approaches yet they are complementary."

Teaming up with Family Circle Productions, a local production company, the event will be hosted by Detroit’s own jazz saxophonist Deon Yates with special guest, Lansing, MI saxophonist Phil Denny.

On Thursday, February 14, 2013 Yates will be hosting “Valentine’s with R n R,” at 8 p.m., at The Scottish Rite Cathedral inside the Masonic Temple 500 Temple Avenue Detroit, MI 48201. Tickets on sale now at the Masonic Temple box office, all Ticketmaster outlets.

Yates began his career performing for Detroit mayor Coleman A. Young while still a student at Remus Robinson Middle School on Detroit’s eastside. Yates collaborated with chart topping smooth jazz guitarist Nick Colionne, vocalist Maysa Leak (Incognito), and Detroit “Soul Trumpeter” Lin Rountree to complete his debut national album, “Spotlight.” This latest project solidifies his place in the jazz world following in the footsteps of his mentor and Sax Dakota endorsement mate Richard Elliot.

“The purpose of the concert is to show that good things can be found in and still come out of the city,” said Yates. “Not only do we want to bring names to the city, we want to introduce the city to some of the, sometimes unrecognized, talented artist from the region.”

JOSE JAMES - NO BEGINNING, NO END

Singer-songwriter José James' full-length label debut, No Beginning No End, is his very own intoxicating blend of jazz, hip-hop, and R&B. It features the single "It's All Over Your Body." No Beginning No End is a seamless musical experience that moves between different styles with remarkable fluidity, bound together by James' transcendent voice. Gilles Peterson got an early listen to the album and immediately took to Twitter to declare it "a landmark" likening it to "Smokey Robinson for the new generation."

Conceived, recorded and produced independently, the album is James' most personal statement yet and boasts collaborators including noted producer/bassist Pino Palladino; pianist/composer Robert Glasper; R&B singer/songwriter/guitarist Emily King; international French-Moroccan singing star Hindi Zahra; and the 2011 Thelonious Monk Competition winner pianist Kris Bowers.

"No Beginning No End sums up how I feel about music right now," says James. "I don't want to be confined to any particular style. I decided I didn't want to be considered a jazz singer anymore and that was really freeing. Once I realized that jazz singing is just something that I do and it's just a label, it freed me as an artist to just write without any boundaries."

2013 U.S. TOUR DATES
Jan. 23 – Highline Ballroom – New York, NY
Jan. 24 – Howard Theatre – Washington DC
Jan. 26 – Scullers – Boston, MA
Jan. 29 – Cedar Cultural Center – Minneapolis, MN
Jan. 30 – Lincoln Hall – Chicago, IL
Feb. 10-Mar. 6 – Asia & Australia Tour
Mar. 9 – The New Parish – Oakland, CA
Mar. 10 – Brick & Mortar Music Hall – San Francisco, CA
Mar. 12 – The Del Monte Speakeasy – Los Angeles, CA

~ Giantstep.net

NEW RELEASES - NORAH JONES, YOYO HONEY, JESSE WARE,

NORAH JONES - LITTLE BROKEN HEAETS REMIX EP

On January 22nd, nine-time Grammy Award winning singer Norah Jones will unveil a digital EP collecting all seven remixes for her Little Broken Hearts album (produced by Danger Mouse) to date. This DJ promo features the full Little Broken Hearts Remix EP, including four transcendent remixes from TV On The Radio's David Andrew Sitek, and two brand new remixes delivered by José Padilla, celebrated Ibiza chill ambassador and legendary DJ of the island's Café Del Mar. Finally, topping off the collection is Peter Bjorn and John's re-invention of the chilling "Miriam." Jones has also just released Covers via Target, an exclusive compilation of ten rare and unreleased tracks recorded over the first decade of Jones' career. Included are interpretations of songs from some of Norah's favorite artists: from Bob Dylan, Johnny Cash and Willie Nelson to Tom Waits, Wilco and Horace Silver.

YOYO HONEY - GROOVE ON

Comprising producer/writer Mani Shoniwa and vocalist Anita Jarrett, Yo Yo Honey only released one album, 1992′s Voodoo Soul, before disbanding and moving on to other projects. The album was a mix of late-’80s/early-’90s dance and classic soul, in a similar vein to Soul II Soul (some of whose members were featured on the album), and became somewhat of a classic on the underground soul scene, with the single “Groove On” still a favorite amongst many 20 years on. The album has long been out of print and has never been available digitally, but thankfully Mani and Anita are set to release a remastered version this October, together with a single remix package, featuring a killer rare groove treat from SoulBounce fave Soulpersona. This is all in preparation for the duo’s upcoming album of new material, scheduled for an early 2013 release. ~ LoungeMotion.com

JESSE WARE - IF YOU'RE NEVER GONNA MOVE

For Jessie Ware singing is the easy part. Uncannily beautiful vocals have been pouring out of this London-born singer and songwriter since she was a kid. Having already made waves in the U.K. with her critically acclaimed debut album, Devotion, Jessie releases her debut U.S. EP, If You’re Never Gonna Move. The EP features Ware’s first U.S. single, “If You’re Never Gonna Move,” plus a remix by Two Inch Punch. Also included are two tracks from the Mercury Prize-nominated album Devotion, and a cover of Bobby Caldwell’s “What You Won’t Do For Love.” Jessie kicks off her U.S. tour in January with a string of eagerly anticipated live shows, several of which have already sold out. Upcoming tour dates include: 1/22 - Los Angeles, CA - Amoeba Music; 1/23 - Los Angeles, CA - El Rey; and 1/24 - San Francisco, CA - PopScene.

BOZ SCAGGS - MEMPHIS

Grammy Award-winning rock legend Boz Scaggs ia about ready to release his latest studio album, Memphis. The multi-platinum selling musician has signed with 429 Records, which will release the album on March 5. Showcasing both original songs and choice covers, Memphis was produced by Steve Jordan (John Mayer) and was recorded at Willie Mitchell's legendary Royal Studio in Memphis, where the late Mitchell recorded Al Green and other Hi Records artists. Joining Scaggs on Memphis are Willie Weeks (bass), Ray Parker Jr. (guitars), Spooner Oldham (keyboards), the Memphis Horns, Lester Snell (string arrangements) and Steve Jordan (drums). Scaggs is set to tour the U.S. throughout 2013, dates will be announced shortly.

William Royce "Boz" Scaggs began a long and storied career in 1965 with the release of his first solo recording Boz. Scaggs quickly developed into an iconic singer songwriter cutting his teeth playing with Steve Miller on several highly successful projects and honing his rock and R&B chops working with the likes of the Muscle Shoals Rhythm Section and Duane Allman . Scaggs hit it big in 1976 achieving multi-platinum success with Silk Degrees and its follow ups. Scaggs continued on a lauded and multi-genre musical journey to the present day. He and his band continue to tour worldwide and Scaggs also performs alongside Donald Fagan and Michael McDonald in their band billed as The Dukes of September.

Raised in Texas with an abiding respect for a wide spectrum of American roots music, Scaggs has combined rock, jazz, R&B and blues to create a trademark sound. With an extensive and distinctive career that has spanned 30 years and many accolades, Scaggs continues to prove himself as one of music's most creative and original artists.

BOZ SCAGGS , MEMPHIS
1. Gone Baby Gone
2. So Good To Be Here
3. Mixed Up Shook Up Girl
4. Rainy Night in Georgia
5. Love on a Two Way Street
6. Pearl of the Quarter
7. Cadillac Walk
8. Corinna, Corinna
9. Can I Change My Mind
10. Dry Spell
11.You Got Me Cryin'
12. Sunny Gone

NEW RELEASES - HERBIE NICHOLS, ROLAND KIRK, JOHANNA SILLANPAA

HERBIE NICHOLS - LOVE, GLOOM, CASH, LOVE

One of the few albums ever recorded by pianist Herbie Nichols – an incredible player with a sound and sense of modern expression that rivaled the best 50s work of Thelonious Monk and Elmo Hope! This session is Herbie's only one for the Bethlehem label – but it stands nicely next to his better-known sides for Blue Note – with a stark, sharp modernist approach that grabs you from the very first note! Nichols has a sharp and edgey sound throughout – and an incredible sense of invention that never fails to delight us, no matter how many times we return to the record! Titles include "Every Cloud", "S'Crazy Pad", "45 Degree Angle", "Beyond Recall", "Portrait of Ucha", and the beautiful title track "Love Gloom Cash Love". ~ Dusty Groove

ROLAND KIRK - THIRD DIMENSION

Excellent early work from Roland Kirk – not as groundbreaking as later sessions, but still filled with fire and imagination, and proof that the famous blind player was a genius even at an early age! Kirk plays alto, tenor, and soprano – and on all tracks, he plays them in his unique "3-in-1" style, in which he's actually blowing all horns at the same time! The result is an incredible sound, unlike anyone else we can think of – and it's an amazingly raw tone that still swings very hard. Players include Jimmy Madison on piano, Carl Pruitt on bass, and Hank Duncan on drums – a really rootsy quartet that helps Roland hit a really gutbuckety sound on the record. Titles include "Triple Threat", "Slow Groove", "Roland's Theme", "Easy Living", "The Nearness Of You", and "A La Carte". ~ Dusty Groove

JOHANNA SILLANPAA - MAKE OF ME

For every style of music that Johanna Sillanpaa explores, be it jazz, groove, R&B or soul, there’s a vibrant color in her voice to match. Described as “a bluesy Erykah Badu with a marvelous voice that begins in the smoky lows of Norah Jones and effortlessly climbs into the powerful, confident ranges of Lisa Stansfield, Johanna performs slick soul, funk and jazz to dig your heels into and her velveteen voice and eclectic sound slides over the air carrying with it a sensual, deep groove. Now the Swedish-born soulful artist has really come into her own with her latest diverse and introspective third solo album Make Of Me. The album envelops you immediately and showcases her rich, intoxicating vocals. From the sunny and uplifting Beautiful Love to the sweet, passionate promise of Always, her latest compilation of songs is sure to captivate audiences everywhere and shes excited to bring these tracks to the stage.

THE CORNELIA STREET CAFE PRESENTS 3 DAY MINI FESTIVALS

This January The Cornelia Street Cafe in New York proudly presents a series of 3 Day Mini Festivals that encompasses many, if not all, of the many genres featured regularly at the Cafe.

BRAZILIAN FESTIVAL, January 17-19:
Thursday, January 17, 8:30 PM
ROGÉRIO BOCCATO QUARTETO
Dan Blake, tenor sax; Nando Michelin, piano; Gary Wang, bass; Rogério Boccato, drums, percussion

Thursday, January 17, 10:00 PM
RICHARD MILLER TRIO
Richard Miller, guitar; Itaiguara Brandão, bass; Zé Maurício, percussion

Friday, January 18, 9:00 PM
BILLY NEWMAN QUARTET
Billy Newman, guitar; Eric Schugren, tenor sax; Leco Reis, bass; Vanderlei Pereira, drums

Friday, January 18, 10:30 PM
ROB CURTO
Rob Curto, accordion; Gustavo Amarante, bass; Gil Oliveira, drums

Saturday, January 19, 9:00 PM
MAURICIO ZOTTARELLI GROUP
Oriente Lopez, flute; Klaus Mueller, piano; Mike Pope, bass; Mauricio Zottarelli, drums

Saturday, January 19, 10:30 PM
BRAZILIAN FEST: AMANDA RUZZA
Ben Flocks, saxophone; Chris Stover, trombone; Alex Nolan, guitar; Mamiko Watanabe, piano; Amanda Ruzza, bass; Mauricio Zottarelli, drums

VOICE BOX FESTIVAL - CURATED BY SARA SERPA, January 20-22
Sunday, January 20, 8:30 PM
SOFÍA REI, JORGE ROEDER DUO
Sofía Rei, voice; Jorge Roeder, bass

Sunday, January 20, 10:00 PM
SARA SERPA 5TET
Sara Serpa, voice; André Matos, guitar; Kris Davis, piano; Aryeh Kobrinsky, bass; Tommy Crane, drums

Monday, January 21, 8:30 PM
EMILIE WEIBEL SOLO
Emilie Weibel, voice

Monday, January 21, 10:00 PM
KRISTIN SLIPP & DOV MANSKI
Kristin Slipp, voice; Dov Manski, piano

Tuesday, January 22, 8:30 PM
AKIKO PAVOLKA & HOUSE OF ILLUSION
Akiko Pavolka, voice, piano; Loren Stilman, sax; Nate Radley, guitar; Matt Pavolka, bass; Bill Campbell, drums

Tuesday, January 22, 10:00 PM
VOICE BOX FESTIVAL: FAY VICTOR PRESENTS "HERBIE NICHOLS SUNG"
Fay Victor, voice, words; Michael Attias, alto, baritone saxophone; Anthony Coleman, piano; Ratzo Harris, bass; Rudy Royston, drums

JEAN ROHE'S GLOBAL LIVING ROOM, January 23-25:
Wednesday, January 23, 8:30 PM
LEV ZHURBIN
Lev Zhurbin, viola, fadolin; Sam Sadigursky, clarinet; Pablo Aslan, bass

Friday, January 25, 9:00 PM
GLOBAL LIVING ROOM FEST: JEAN ROHE & VITOR GONÇALVES Jean Rohe, voice; Vitor Gonçalves, piano

Friday, January 25, 10:30 PM
GLOBAL LIVING ROOM FEST: JEAN ROHE & ROGERIO BOCCATO Jean Rohe, voice; Rogerio Boccato, percussion

JAZZ TO CLASSICAL VOCAL FESTIVAL, January 28-30:
Monday, January 28, 8:30 PM
LAILA SALINS

Tuesday, January 29, 8:30 PM
LISA DAEHLIN

January 30, 8:30 PM
TESSA SOUTER

visit www.corneliastreetcafe.com

WAYNE SHORTER, NATALIE COLE, CHICK COREA, ESPERANZA SPALDING HEADLINE 2013 NEWPORT JAZZ FESTIVAL

Wayne Shorter

2013 Newport Jazz Festival® Continues Its Distinguished History with a Dynamic Mix of Jazz Legends and Emerging Artists

One year away from celebrating the 60th anniversary of the Newport Jazz Festival®, George Wein, producer and Chairman of the Newport Festivals Foundation, Inc.™, today announced the program for the 2013 Newport Jazz Festival® presented by Natixis Global Asset Management (NGAM). This year's event will be held in Newport, RI, on August 2 atthe International Tennis Hall of Fame at the Newport Casino and August 3 - 4 at historic Fort Adams State Park.

Founded in 1954 as the first annual jazz festival in America, the Newport Jazz Festival has been host to numerous legendary performances by some of the world's leading established and emerging artists. The storied tradition continues on this year's slate, with saxophonist Wayne Shorter's 80th Birthday Celebration featuring the Wayne Shorter Quartet with Danilo Perez, John Patitucci and Brian Blade plus special guest Herbie Hancock; Chick Corea (fronting The Vigil Band); Eddie Palmieri (with his Salsa Orchestra); Roy Haynes (leading his Fountain of Youth Band); Joshua Redman; Michel Camilo; Terence Blanchard and others sharing the festival bill with rising stars Esperanza Spalding; Gregory Porter; Robert Glasper; Edmar Castañeda; Hiromi; and Jon Batiste. Other highly anticipated performances include a set marking the 35th anniversary of New Orleans greats The Dirty Dozen Brass Band, Steve Coleman in three different projects, veteran Chicago vocalist Dee Alexander and the Dizzy Gillespie™ Big Band under the direction of Paquito D'Rivera.

Natalie Cole

On opening night at the International Tennis Hall of Fame at the Newport Casino, multiple Grammy Award® winning singer Natalie Cole is on the same bill as her uncle, renowned singer and pianist Freddy Cole, a special guest of the Bill Charlap Trio. The evening kicks off with an exclusive cocktail party.

"There's a growing sense of excitement as the Newport Jazz Festival heads towards the incredible milestone of 60 years," said Wein. "The memories of historic performances by Duke Ellington, Miles Davis, Mahalia Jackson and just about every jazz great alive since 1950 linger. But, looking forward after all these years is what keeps us searching for the young musicians who will replace the legends of the golden age of jazz. We're pleased to celebrate this great music with the continuing support of Natixis Global Asset Management."

"The ongoing partnership that NGAM has with the legendary Newport Jazz Festival and impresario George Wein continues to provide a wonderful platform for all of us to foster creativity, diversity and collaboration between artists, communities and businesses," said John T. Hailer, President & Chief Executive Officer, Natixis Global Asset Management - The Americas and Asia. "Now in our third year of partnering with the Newport Jazz Festival, we are thrilled with our achievements and the event's commitment to showcasing the art of young musicians. This aligns beautifully with our commitment to provide more opportunities for talented music students from throughout the globe."

Chick Corea

In addition to presenting sponsor Natixis Global Asset Management, additional sponsorship support is provided by Alex and Ani, a positive energy, eco-conscious, lifestyle brand, and Louis Jadot, America's #1 French Wine.

Following the opening night on Friday, August 2, at 8:00 pm featuring Natalie Cole and the Bill Charlap Trio with special guest Freddy Cole, at the International Tennis Hall of Fame at the Newport Casino (194 Bellevue Avenue), the Newport Jazz Festival presented by Natixis Global Asset Management features an exciting Saturday (August 3) lineup on three unique stages from 10:30 am - 7:00 pm at Fort Adams State Park (90 Fort Adams Drive). The roster includes Wayne Shorter's 80th Birthday Celebration: Wayne Shorter Quartet featuring Danilo Perez, John Patitucci & Brian Blade plus special guest Herbie Hancock; Esperanza Spalding - Radio Music Society; Michel Camilo Sextet; Terence Blanchard Quintet; Robert Glasper Experiment; Gregory Porter; Edmar Castañeda; Ray Anderson Pocket Brass Band; Amir ElSaffar Two Rivers; Bill Charlap Trio with guests Bob Wilber and Anat Cohen; Mary Halvorson Quintet; Rez Abassi Trio; and others to be announced.

Esperanza Spalding

On Sunday, August 4, the music continues at Fort Adams at 10:30 am with Chick Corea & The Vigil with Christian McBride, Tim Garland, Marcus Gilmore and Charles Altura; Eddie Palmieri Salsa Orchestra; Roy Haynes Fountain of Youth Band featuring Jaleel Shaw, Martin Bejerano and David Wong; Dizzy Gillespie™ Big Band under the direction of Paquito D'Rivera;Hiromi: The Trio Project with Anthony Jackson and Steve Smith; Joshua Redman Quartet; Jim Hall Quartet featuring Julian Lage; Jon Batiste & Stay Human; Dee Alexander: Songs That My Mother Loved; The Dirty Dozen Brass Band; Lew Tabackin Quartet with Randy Brecker, Peter Washington and Lewis Nash; Donny McCaslin Group; Steve Coleman Projects: Five Elements, Talea Ensemble and Duo with Tyshawn Sorey;David Gilmore & Numerology featuring Claudia Acuña, Miguel Zenón, Luis Perdomo, Christian McBride, Jeff "Tain" Watts and Mino Cinelu; and others to be announced.

Ticketsfor the 2013 Newport Jazz Festival presented by Natixis Global Asset Management go on sale worldwide Thursday, January 17, at 10:00 am at www.newportjazzfest.net, by phone and by mail.

Tickets for the Friday, August 2, concert are $ 40.00 - $100.00. All seats reserved. The Opening Night Cocktail Party, a Newport summer tradition, kicks off the evening from 6:30 - 7:45 pm. This exclusive party welcomes a limited number of attendees for an evening of great music, food and beverages. Tickets are $50.00 for Tennis Hall of Fame members and $60.00 for non-members. Pricing includes open bar and hors d'oeuvres. Party attendees must have a ticket to the Newport Jazz Festival concert. To order Cocktail Party tickets, call (401) 324-4072 or go online at www.tennisfame.com.

A limited number of general admission adult two-day passes are available now for$135.00 for Saturday and Sunday. Single day general admission adult tickets are $74.00 in advance and $84.00 at the gate, if available. Children's tickets for ages 3 - 15 are $15.00 per day. Children under 3 are free. A new student price of $20.00 is available for high school students older than 15 and college students with valid ID. Students must use the Student gate and present valid ID to enter the festival. Offer valid for eligible students while supplies last. Not valid on reserved seating or for the Friday night event.

Parking passes are also available on-line for $12.00. Service charges apply to all tickets purchased on-line or by phone. Premium Seating tickets for Fort Adams concerts are available for $125.00 per day. Reserved Seating is $90.00. Single day general admission tickets also can be purchased in person at the Newport Visitors Information Center, located at 23 America's Cup Avenue. Visit www.gonewport.com for office hours and information. No service charges apply.

There will be a festival office in the Newport area where tickets can be purchased in person at a later date. For general information, craft vendor information or to leave a message for festival staff, call the festival hotline at (401) 848-5055. For more information, log on to www.newportjazzfest.net or www.newportfestivalsfoundation.org.

With the 60th anniversary of the Newport Jazz Festival fast approaching, thousands of fans will no doubt reflect on some of the historical highlights of the event that have become, through memory, recordings and film, touchstones of the American cultural landscape. Two of the most famous performances in the festival's history are Miles Davis' 1955 solo on "'Round Midnight" and the Duke Ellington Orchestra's lengthy 1956 performance of "Diminuendo and Crescendo in Blue," featuring a 27-chorus saxophone solo by Paul Gonsalves. The 1964 album Miles & Monk at Newport documented respective appearances by Davis in 1958 and Thelonious Monk in 1963; Davis' band included John Coltrane and Monk's featured Pee Wee Russell.

Other early performances documented on commercially released recordings include the 1957 appearances by Ella Fitzgerald, Billie Holiday and Carmen McRae (Ella Fitzgerald and Billie Holiday at Newport, 1958); those by the Gigi Gryce-Donald Byrd Jazz Laboratory and the Cecil Taylor Quartet featuring Steve Lacy, released on At Newport also in 1958; and performances at the 1960 festival by Muddy Waters and Nina Simone, released as the albums At Newport 1960 and Nina Simone at Newport.

Films chronicling the Newport Jazz experience include "Jazz on a Summer Day," a documentary of the 1958 festival which includes sets by Dave Brubeck, Ray Charles and Miles Davis; and a film released by Storyville of the 1962 event which featured Lambert, Hendricks & Bavan, the Oscar Peterson Trio, Roland Kirk, Duke Ellington and the Count Basie Orchestra featuring Jimmy Rushing.