BRIAN ANDRES AND THE AFRO-CUBAN JAZZ CARTEL - SAN FRANCISCO

Drummer Brian Andres's new album with the Afro-Cuban Jazz Cartel, San Francisco, not only takes its title from the band's home base. The CD, to be released July 16 by the leader's Bacalao Records imprint, also makes a persuasive case for the assertion that San Francisco has its own distinctive Latin jazz sound (the classic "San Francisco Tiene Su Propio Son" is included on the disc).

"There's so much talent in the Bay Area, I wanted to represent the guys in town, their compositions and playing," says Andres, an Ohio native who relocated to the area in 1999. "It's a world-class city with world-class musicians, and I want to let people hear that."

After debuting on Andres's highly regarded 2007 CD Drummers Speak, the Afro-Cuban Jazz Cartel became a 9-piece working band whose members were expected to possess "a deep understanding of Caribbean rhythms and musical forms," Andres explains in his notes to San Francisco, as well as "the ability to create, improvise, and groove."

Cartel pianist Christian Tumalan contributes several outstanding arrangements on the new CD, including the lead track "Sand Castles," composed by the Bay Area jazz pianist Eric Muhler, and an Afro-Cuban reimagining of "Black Market," the Weather Report classic. And in-demand bassist Aaron Germain is particularly well represented with three tunes, among them "Higashi Nakano," a contemporary take on cha cha cha, and "Nothing But Trouble," a showcase for trumpeter Henry Hung (a key member of the Asian American Orchestra, another Bay Area institution).

In fact, the collaborative nature of the Bay Area scene is further exemplified by the contributions of trumpeter Steffen Kuehn, who with Tumalan co-leads the acclaimed Pacific Mambo Orchestra. Rather than exhibiting a sense of competition, they have "both been very helpful as musicians and friends and fellow bandleaders," says Andres.

"We've been fortunate enough to create something that guys really want to be involved in," he adds, "with challenging music that's a good space for them to showcase their art."

Born (in 1968) and raised in Cincinnati, Ohio, the son of professional musicians, Brian Andres started playing drums in the fourth grade. After high school, he took classes at the Cincinnati College-Conservatory of Music but abandoned formal studies once he landed a full-time gig with veteran bluesman Cincinnati Slim and the Headhunters.

Andres was in the midst of a thriving career playing rock, funk, R&B, and blues when he experienced his clave epiphany, courtesy of the Cleveland salsa band Impacto Nuevo. "It changed my trajectory of where I wanted to go," Andres recalls. "I've often likened it to the first time I kissed a girl. I just wanted to do it over and over again. The first time I heard it done well live, it had me."

He put together a Latin jazz band of his own, and started buying up whatever albums he could find, which introduced him to leading Bay Area artists such as John Santos's Machete Ensemble, Andy Narell, and Pete Escovedo. It was Bay Area Latin jazz stalwart, the late Dutch-born drummer Paul van Wageningen, who convinced him to make the move to San Francisco rather than New York or L.A. by offering real encouragement when Andres came through town on a visit.

"He was absolute class," Andres says. "We hung out and played, and he showed me some things. He said he'd recommend me for gigs, and he was as good as his word."

Landing in the Bay Area in early 1999 at the height of the high-tech boom, Andres quickly found work in an array of Latin settings, playing salsa, Latin funk, and Latin jazz. He undertook his first recording under his own name in 2007, motivated by his love of the multidimensional writing of Latin jazz pioneers Tito Puente and Eddie Palmieri. The result was Drummers Speak.

Andres has maintained ties with his home state and frequently returns there to work. Next month he'll perform as part of Cincinnati Slim & the Headhunters at the Dayton Blues Festival (7/21) and in Springboro OH (7/23), as well as with his own Latin Jazz Quintet at Washington Platform in Cincinnati 7/19. Come August, he'll play three hometown dates with the Afro-Cuban Jazz Cartel-Fountain Square 8/22 and the Blue Wisp 8/23-24.

"Regardless of our land of origin," Andres observes in his CD notes of the far-flung starting points of his band members, "all of us reside here [in the Bay Area] now, drawn to the rich heritage and continuing dynasty of Latin Jazz in San Francisco and feel the intense desire to contribute to it." Brian Andres, the Afro-Cuban Jazz Cartel, and San Francisco can each claim a spot in that deeply influential musical lineage.

www.brianandres.com

MERRY CLAYTON - THE BEST OF MERRY CLAYTON

The musical career of Merry Clayton , renowned backing singer turned solo headliner, is celebrated on The Best Of Merry Clayton, available everywhere June 25th through Ode Records/Legacy, a division of Sony Music Entertainment. The first compilation ever issued on the artist, the album's 17 tracks, which include every one of her five Billboard Hot 100 chart singles on Ode Records, serve as a reminder of the touchstones of her career. The range of artists with whom Clayton has sung includes everyone from Ray Charles and Elvis Presley to the Rolling Stones, from Billy Preston and Carole King to Joe Cocker and Leon Russell , from Lynyrd Skynyrd and Ringo Starr to Taj Mahal and Neil Young , and scores more.

The release of The Best Of Merry Clayton coincides with June theatrical openings of 20 Feet From Stardom in select cities. Award-winning director Morgan Neville's new film features Clayton, Darlene Love , and others, documenting the untold true story of the backup singers behind some of the greatest musical legends of the modern era. The soundtrack album to 20 Feet From Stardom, with classic rock and R&B tracks by (or featuring) Clayton, Love, Lisa Fischer , Tata Vega , Claudia Lennear , and others, will be available June 18th from Columbia Records.

Neville's 20 Feet From Stardom follows nearly 20 years of documentary filmmaking on subjects including Brian Wilson , Stax Records, Sun Records' Sam Phillips , Cowboy Jack Clement, Johnny Cash , Iggy and the Stooges, Ray Charles , Pearl Jam, and others. Neville has produced and directed multiple entries in A&E's Biography series (on Nat King Cole , Leiber & Stoller, Burt Bacharach, and others) and the PBS American Masters series (on Hank Williams , Muddy Waters, and Carole King / James Taylor ).

After nearly a decade behind the scenes, Merry Clayton became an "overnight" star in December 1969, when she was cast as Mick Jagger's vocal collaborator in "Gimme Shelter," the opening track of the Rolling Stones' album, Let It Bleed. The raging urgency of her vocal ("War, children, yeah, it's just a shot away/ It's just a shot away") capsulated the turmoil of the times. Clayton was signed by Rock And Roll Hall Of Fame producer Lou Adler to his Ode Records label, and her debut solo LP was issued the following year.

The album was titled Gimme Shelter and was the first of three soul-drenched LPs that Clayton recorded for Ode, all of them packed with covers of contemporary rock, pop, R&B, gospel, and more. Gimme Shelter was followed by the self-titled Merry Clayton (1971, produced by Adler), and Keep Your Eye On The Sparrow (1975, produced by Gene McDaniels ). Adler and Legacy reissue producer Rob Santos have sourced the majority of the 17 tracks on The Best Of Merry Clayton from her three Ode albums:

•Gimme Shelter, with the Stones' title tune, and her versions of the Doors' "Tell All The People," James Taylor's "Country Road," Simon & Garfunkel's "Bridge Over Troubled Water," and Spooky Tooth's "Forget It I Got It";

•Merry Clayton , with Neil Young's "Southern Man," Carole King's "After All This Time," and "Walk On In," Bill Withers' "Grandma's Hands," Billy Preston's "Sho'Nuff," Leon Russell's "A Song For You";

•Keep Your Eye On The Sparrow, with its title tune that was the theme song, originally sung by Sammy Davis Jr. , of the '70s police drama Baretta.

Two of the tracks on The Best Of Merry Clayton are taken from a rare non-LP single issued between albums in 1972. The A-side was Goffin & King's "Oh No, Not My Baby," first introduced by Maxine Brown in 1964, and a pop staple ever since. Clayton's version earned her a Grammy Award® nomination for Best Female R&B Vocal in 1972. The B-side was Elvis Presley's "Suspicious Minds" (written by Mark James ), suggesting that Clayton may have been among the backing singers at Presley's American Studios sessions in Memphis of January-February 1969, when he first recorded the song.

Three of the tracks on The Best Of Merry Clayton are LP rarities that not only show off her versatility, but also indicate the wide-ranging, eclectic nature of Lou Adler's Ode Records label. Bob Dylan's "The Mighty Quinn" is from a 1969 album, Dylan's Gospel, in which ten of his folk and rock songs were given grand gospel treatments, as recorded by the Brothers and Sisters. This gathering of some two dozen voices not only included Clayton, but such female gospel and R&B luminaries as Patrice Holloway , Gloria Jones , Clydie King , Julia Tillman , Edna Wright , and others. The album was produced and directed by Lou Adler , and arranged and conducted by Gene Page .

The enigmatic movie soundtrack for MGM's Brewster McCloud (1970) featured one side of tracks mainly written and performed by John Phillips , fresh from the Mamas & the Papas. Three of these featured Clayton, but it is generally agreed that the version of "Lift Ev'ry Voice And Sing (Black National Hymn)" is one of the most stirring versions of that anthem ever recorded. Again, this track was produced by Lou Adler , and arranged by Gene Page .

The final track on The Best Of Merry Clayton is her climactic take as "The Acid Queen" from the Who's rock opera, Tommy. In this case, it was the all-star 1972 version that was recorded with the London Symphony Orchestra and London Chamber Choir conducted by David Measham , featuring singers Steve Winwood , Rod Stewart , Richie Havens , Ringo Starr , and others. For decades, pundits have debated Clayton's "Acid Queen" vis-a-vis Tina Turner's interpretation in the 1975 film version of Tommy.

Born in New Orleans on Christmas Day, 1948 (hence "Merry"), pop history notes that Clayton's first major session took place at age 13 in 1962. The occasion was a duet with Bobby Darin on "Who Can I Count On? (When I Can't Count On You)" from his album, You're The Reason I'm Living (released 1963). She was still a teenager when she started as one of Ray Charles' backing singers in the Raelettes in the 1960s. By the mid-'60s, Clayton had emerged as a first-call voice onstage and on hundreds of recordings that bore her name in the credits (and hundreds, perhaps thousands more that didn't credit her). Her presence on the Stones' "Gimme Shelter" propelled her to a new level of stardom, and she found a home with Ode Records and Lou Adler .

Liner notes for The Best Of Merry Clayton are written by former Del Fuegos member, and now college professor Dr. Warren Zanes , whose credits include notes on historic packages by George Harrison and Dusty Springfield . Discussing the world of backing singers, he writes, "They've been able to enter into the widest range of musical situations and do what's needed. Many backing singers adapt chameleon-like to the situation and never develop a distinctive 'character' voice. But there are certainly exceptions. And Merry Clayton is one of them. She is gifted with a voice that gives her a place in both worlds. Here is a singer who can do it all."

The Best Of Merry Clayton
Selections: 1. Southern Man (D) * 2. Tell All The People (C) * 3. Country Road (C, Hot 100 #103) * 4. After All This Time (D, Hot 100 #71) * 5. Gimme Shelter (C, (Hot 100 #73) * 6. Grandma's Hands (D) * 7. Oh No, Not My Baby (Ode single 66030, originally released 1972, Hot 100 #72) * 8. Walk On In (D) * 9. Bridge Over Troubled Water (C) * 10. The Mighty Quinn by the Brothers and Sisters (featuring Merry Clayton ) (A, Ode single ZS7-121, originally released 1969) * 11. Sho'Nuff (D) * 12. Forget It I Got It (C) * 13. Keep Your Eye On The Sparrow (F, Hot 100 #45, Ode single 66110, originally released 1975, from the Universal T.V. series Baretta) * 14. Suspicious Minds (Ode single 66030, originally released 1972, B-side of Oh No, Not My Baby) * 15. A Song For You (D) * 16. Lift Ev'ry Voice And Sing (Black National Hymn) (B, Ode single 66011) * 17. The Acid Queen – Merry Clayton with the London Symphony Orchestra and London Chamber Choir Conducted by David Measham (E).

Album index:
A – from Dylan's Gospel by the Brothers and Sisters (originally released 1969, as Ode 44018)
B – from Brewster McCloud original soundtrack (originally released 1970, as MGM 1SE-28ST)
C – from Gimme Shelter (originally released 1970, as Ode 77001)
D – from Merry Clayton (originally released 1971, as Ode 77012)
E – from Tommy (originally released 1972, as Ode 99001)
F – from Keep Your Eye On The Sparrow (originally released 1975, as Ode 77030)

Source: Legacy Recordings

STING ANNOUNCES NEW ALBUM - THE LAST SHIP

Cherrytree/Interscope/A&M Records has announced a new album of original material from Sting, entitled The Last Ship, scheduled for release on September 24, 2013 (internationally on September 23, 2013). The album is inspired by Sting’s forthcoming play of the same name and explores the central themes of homecoming and self-discovery, drawing upon his memories of growing up in the shadow of the Swan Hunters Shipyard in Wallsend. His personal reminiscences illuminate universal truths – the complexity of relationships, the passage of time and the importance of family and community – to form an affecting, complex parable for our modern times.

The play, in which Sting has been creatively immersed for nearly three years, debuts on Broadway in 2014 and is a collaboration with Tony Award winners Joe Mantello (director; Wicked, Other Desert Cities), John Logan (writer; Red, Skyfall)) and Brian Yorkey (writer; Next to Normal). The Last Ship tells the story of the demise of the shipbuilding industry in 1980s Newcastle which had, for so long, shaped and overshadowed the city, its development, and its community.

The Last Ship album is produced by Rob Mathes (Sting, Eric Clapton, Elton John, Lou Reed, Carly Simon) and engineered and mixed by Donal Hodgson. The Last Ship will be available as both a digital and physical release in two configurations - a 12-song version and a 2-disc deluxe version featuring 5 additional tracks. (The 12-song version will also be available on vinyl.) A super deluxe edition, containing 2-discs comprised
of 20 tracks within special packaging, will also be sold as a physical product exclusively at Amazon.com. AmazonMP3 will be the exclusive retailer for the 20-track, super deluxe digital edition.

www.sting.com
www.CherrytreeRecords.com

NEW RELEASES - VIEUX FARKA TOURE, PRIOT ENSEMBLE, MYELE MANZANAZ

VIEUX FARKA TOURE – MON PAYS

Mon Pays, the latest album from Vieux Farka Touré, transports listeners to the headlines of the richest days in Mali’s history. In the face of extremists out to obliterate all that is beautiful in the country, Mon Pays is a hopeful source of peaceful prospects. Opening track “Diack So” marks the beginning of a journey into a land of plenty. Tranquil yet weighty, every note on Mon Pays is delivered with the importance of a voice, guitar and music that could guide a silenced people. Okayafrica received inspiring answers from Vieux on the past and future of Malian pride. Mon Pays is available now via Six Degrees. ~ Six Degrees


PRIOT ENSEMBLE – PRESENT CONTINUOUS

"Present Continuous" - the first attempt to enforce diligently the strategy pursued by Priot Ensemble to rescue the jazz music from the complexity and secrecy by means of more emotional and melodic approach. All music is written by Natalia Blinova, as well as the vocals are performed by herself. This music is the best suited for the intended purpose. Having absorbed, not always consciously, the idea of minimalism, psychedelic rock, ambient music, improvised music, the concept of the album reveales all its polystylistic beauty not constrained to within a single selected style and its stamps. ~ FancyMusic

MYELE MANZANA - ON THE MOVE

"On The Move" is the first single from Myele Manzanza's forthcoming album. The driving rhythmical talent behind Electric Wire Hustle steps out from behind the drum kit to release his first solo album ‘One’. At just 25 years old the musically prolific Myele Manzanza has not only held down the drums as part of New Zealand's Electric Wire Hustle for the past 5 years but has also drummed for many other NZ bands including Olmecha Supreme, Sheba Williams, The Recloose Live Band, The Jonathan Crayford Trio as well as for his father - Sam Manzanza’s Rhythm Africa Band & countless other musical projects. The last two years were spent living between Berlin & New York & touring with Electric Wire Hustle with laptop in hand. The fertile breeding ground of creativity of these cities provided the seeds of musical inspiration to put together Myele Manzanza's first album aptly titled ‘One’. Created primarily in Wellington, New York and Berlin in kitchens, bedrooms, hotel rooms, parks, balconies and backstage ‘One’ draws on many influences and experiences. Rooted in Myele’s musical “first language” of rhythm, the album also expresses his voice as a musician and producer outside of being a drummer which was a key motivation for Myele. "This album was a challenge to myself to broaden my own musical identity as a musician.” ~bbemusic

OMAR – THE MAN

"When I grow up, I wanna be like Omar" - Stevie Wonder

There are precious few, if any contemporary UK artists whose creative credentials and influence extend as far and so consistently wide as Freestyle Records' most recent signing Omar. Since first breaking through to worldwide renown all the way back in 1991 with his first releases on Gilles Peterson's seminal Talkin' Loud label, and since going on to work with all manner of musical legends including a certain Stevie Wonder, Erykah Badu, Angie Stone, Syreeta Wright, Common, and Carleen Anderson.

Omar returns with a brand new album that many say is without doubt the strongest of his entire career. The buzz generated by the single release of the album's title track, The Man, confirmed beyond doubt that Omar is very much at the top of his game, with everyone from BBC 6 Music's Gilles Peterson, BBC Radio 2's Trevor Nelson and Jamie Cullum giving both major support and high praise for the simply magnificent new high point for Omar's renowned ability to write devastatingly catchy melodies.

Across the rest of this new album, opener Simplify sets the template, with its luscious and majestic string backed introduction raising the curtain on this deep, hard grooving number. Omar also joins forces with Germany's Hidden Jazz Quartett on High Heels - growling organ spars with the tough, jagged drumbeat on this tough, funk driven collaboration. Elsewhere, latin textures and rhythms have always been part of Omar's far reaching musical vocabulary, and on Come On Speak To Me and Ordinary Day restless south American beats underpin the crisp and fresh melodies.

Soul II Soul's Caron Wheeler offers her distinctive voice on the duet Treat You, allowing these two legendary voices to unite beautifully. Completing the circle that began all the way back in the early 1990s, Omar has re-recorded his classic love song There's Nothing Like This, which this time features bass player to the Gods Pino Palladino. The touching sentiment remains undiminished, but the addition of soaring strings, soulful, jazzy horns, a vibrant live and acoustic feel, plus an extended and new arrangement.

This album will surely become known as the most eclectic, confident, mature and soulful album of his career. After all, Stevie Wonder knows, Erykah Badu knows...and now everyone knows, Omar is The Man.

THE IMPELLERS - THIS IS NOT A DRILL INTRUMENTALS & REMIXES

The Impellers are a 10 piece powerhouse, bringing pounding instrumental tracks, lyrically strong vocal tracks and, new for the 2nd album, a sweet, sweet ballad. The second album "This Is Not A Drill", released in early 2012 on the powerhouse labels that are Mocambo Records and Legere Recordings, brought together influences including soul, deep funk, latin and afrobeats, hip hop production, and included funk re-versions of instantly recognisable tracks by Kaiser Chiefs and The Ting Tings.

The Impellers first full album 'Robot Legs' was released on UK independent label Freestyle Records. Since its release in 2009, the band have been busy touring across the UK, Netherlands, Spain, France and elsewhere. They have shared stages with some of the finest funk, soul, hip-hop, jazz and scratch DJ talent from around the world. Their ever-expanding CV includes shows with Marva Whitney, Breakestra, James Taylor Quartet, The Bamboos, Lack of Afro, Kid Koala, Hexstatic, Mr Thing (The Scratch Perverts), DJ Bizznizz (UK DMC Championships winner), DJ Vadim, Speedometer, Polar Bear,

Part Time Heroes and The Nextmen. The band also played live sessions on the BBC in the UK and were recruited by renowned DJ and promoter Adrian Gibson to play a live mix of tracks from the seminal 'Ultimate Breaks & Beats' records - 55 classic breaks in a killer hour-and-a-half live set!! "This Is Not A Drill Instrumentals & Remixes"

Légère Recordings is proud to present “This Is Not A Drill Instrumentals & Remixes”, by The Impellers!

ROB MOSHER - POLEBRIDGE

The town of Polebridge, curiously like the piano itself, has a population of 88. Life hearkens back to the rough-hewn charm of pioneering days in the early 1900s. Locals live off the land, make their own culture and keep things simple. On a deeply quiet night in this frontier town, you just might find yourself hearing things; and if you happen to be gifted young composer Rob Mosher, that could sound like the music Schumann and Prokofiev might play were you to find them, drunk as can be, side-by-side on the bench of a saloon piano in the wild west.

Mosher was born in Greenwood, Nova Scotia, a small village on the east coast of Canada. "My earliest memories are of music," he recollects and his "parents both sang, though they never talked about music overtly." After years of piano lessons, he started adding woodwinds one-by-one, eventually playing oboe, English horn, clarinet and soprano saxophone. With his trickster spirit and adventurous sense of harmony, he gravitated towards the big city jazz and creative music scene in Toronto. While getting lettered at the University of Toronto, he made a life-changing discovery: his true calling was to compose music. Mosher's work inhabits the space between jazz and classical music with projects ranging from his 10-piece ensemble Storytime to Soprano/Soprano, a duet of saxophone and operatic voice. Jazz Review declared that "Mosher does for music what Renoir has done for art."

Enter Micah Killion, trumpeter, music educator and arts administrator living and working in New York City. Ever the versatile musician, he has performed with New Jersey Symphony, Charleston Symphony, Colorado Symphony, Princeton Symphony, Spoleto Festival Orchestra, the Juilliard Orchestra, Maria Schneider, John Medeski, Shakira and Diana Ross, to name a famous few. After the sudden passing of his mother in 2012, Killion felt moved to celebrate her life by commissioning his longtime friend and collaborator Mosher to compose a suite to record with a stellar set of like-minded musicians.

Stephanie Nilles, who Rolling Stone described as "Ella Fitzgerald beating the shit out of Regina Spektor" adds a wildcard quality to the ensemble playing piano, Hammond B3 and occasional ranting. John Marcus is no stranger to chamber music, playing violin with the Grammy-nominated Enso String Quartet. Andrew Small is a virtuosic young contrabassist who, while completing his master's degree in Classical Bass Performance at Yale University, managed to find time to travel around the country learning old-time fiddle and touring alongside Mosher with Juno-winning banjoist Jayme Stone's Room of Wonders. The ensemble is rounded out with guest appearances by Peter Lutek (bassoon, contra alto clarinet) and Petr Cancura (mandolin). All joined by Mosher on soprano saxophone, English horn and clarinet.

The album Polebridge, much like the town, is full of characters. There you'll meet "Cowboy Ben", a mild-mannered wrangler who plays the musical saw with a bow; a cowpuncher who Nilles describes as "not very manly" in her unexpected spoken word diatribe on the recording. Then there's "Rango's Tango", a piece that recounts the awkward attempts of an Argentinian man trying to court a young woman with his ridiculous dance moves. He fails. "Parade of Two" imagines an impromptu marching band jaunting across town. As Mosher notes, "it takes less a minute to tour downtown Polebridge." The natural beauty of Glacier National Park is captured in "North By Northwest", a tone poem inspired by the glory of the northern lights, a sight familiar to the Canadian-born composer who now makes his home in Brooklyn, New York.

The emotional peak of the album can be found in "Didn't Ask", which came to Mosher in a series of dreams he had in a remote cabin not far from Polebridge. The piece ends with a chorale that Mosher later recognized as Killion's mother's metaphoric ascension up to heaven. "The final trumpet call is like a modern day Amen," muses Mosher. The chorale form, a four-part hymnal perfected by J.S. Bach in the 18th century, has long inspired Mosher, who in 2011 brazenly challenged himself to write a chorale a day for a month; a project that was generously funded through Kickstarter and eventually made into an album simply titled, "31 Chorales".

Though Polebridge is clearly chamber music, there are occasional forays including an Appalachian-style fiddle tune, an otherworldly Klezmer number, a healthy dose of country swagger and plenty of improvisation throughout. Stellar musicianship and first-rate compositions make this charming release a surprising and satisfying listen. So come visit Polebridge; stay a while.

www.robmosher.com

DEE C’RELL - IMAGES

After the continuing success in 2013, Images is the latest release by Dee C’rell on Holm Records. All three compositions expertly combine alternative music making elements within jazz related practices, and are further examples why Dee C’rell is regarded now in such high esteem within contemporary-electronica, and jazz related music worldwide.

The first track is entitled Falling Backwards which comprises modern jazz music techniques and electronics. Creating sensitive use of rhythm through both the inner and outer structural characteristics of the piano only, and with the refined overlaying harmonic and melodic approach of both piano and electronic music making devices, Falling Backwards reflects the modern relationship personally for Dee C’rell within contemporary electro-acoustic jazz and song composition.

Tia (featuring Tia-Francesca, Helmut Neugebauer) is a delicate elaboration on a circular non-resolving theme. Playfully reshaping continuously the composition, Tia is a modern lounge-jazz composition, which includes Austrian jazz saxophonist, Helmut Neugebauer. Dee C’rell’s young eight year old daughter also appears for the second time since the composition Form 2 alongside her father, with her own unique choice of words that reflect an innocent childlike view of the world around us.

Looping at the Spree is taken from the Berlin recordings, Looping at the Spree captures the intensity of Dee C’rell on piano through live improvisation on piano and electronics. Expressing the value of art music in jazz improvisation, Looping at the Spree is one of the finest examples of why Dee Crell is regarded in such high esteem by many of his peers. Looping at the Spree takes the listener on an intricate journey within the piano.

Dee C’rell’s Images is scheduled release date 7th June 2013.
www.deecrell.com

BLACK COFFEE & JOAQUIN "JOE" CLAUSSELL – THE DJOON EXPERIENCE

Djoon is nestled in a vibrant ‘new’ district of eastern Paris and for near 10 years has played host to known and unknown local and international talents from the soulful New Yorker to the afro deep South African, from the pioneers of Chicago and Detroit to Berlin’s deep tech or eclectic London artists… Always seeking talent, of yesterday of today and of tomorrow, this temple of encounters between dancers and music lovers has seen its wooden dance floor trodden by clubbers from all over the world.

Any attempt ‘to bottle’ a night at such a special place is a fraught journey, one which we have taken and now as this musical church beckons its loyal flock to a very special evening of ‘worship’, we bring on one album, a night at the Djoon celebrating 10 years of dance floor joy, hosted by The legendary Joaquin Joe Claussell on a very rare mix CD outing – and South African superstar Black Coffee.

“People don’t come here to show off, they have a natural style and they wanna enjoy themselves” Djoon owner and DJ, Afshin Assadian and his artistic director Lionel Marciano tell us. Afshin’s apprenticeship was as a promoter and club manager and it wasn’t long before he realized that commercial pressure always prevailed over quality of music. Locating an empty space in a deserted district away from the main party places in Paris he developed an instant crush! Djoon was conceived.

Grown up and mature like the very best French wine…. music with soul is what you get there and what the album reflects. Joe’s mix was recorded in a hotel room in Tokyo, his hectic global schedule led him, on a Far Eastern stop over to put together a party in his room. Friends came and vibed with Joe as he worked the turntables, tape machines, … a mix “not about the perfect beat…. but The Soul and The Funk”. Even though “its all over the place” it has a natural musical flow and as he eloquently describes it “ is a collage of Joaquin Joe Claussell at that time.”

South Africans are the biggest consumers of house music in the world, and Johannesburg is the beating heart of their scene. If you’re looking for proof, there is no need to visit a nightclub. In turning on a television, listening to the radio or walking down the street, it’s clear that a 4/4 pulse is the metronome of everyday life. In this beautiful Southern Hemisphere oasis …fighting to shake its torrid Apartheid history House producers are bigger than The Madonnas and Coldplays so revered by music buyers north of the equator. Bring to the stage Black Coffee a household name and champion of Johannesburg’s preferred sound—vocal- led, percussive, melodic— a sound largely at odds with what’s popular in other international markets;

~ bbemusic

NEW RELEASES - MFSB, PEGGY LEE, MIKE PRIDE

MFSB- MFSB


A seminal album by this legendary Philly instrumental group – essentially the house band at Sigma Studios, and an incredible ensemble filled with top-shelf musicians! The sound here is virtually the blueprint for Philly soul of the 70s – a blend of wickedly tight rhythms and fuller orchestrations – served up in a way that's never sleepy, never overdone – and which has a careful balance that none of the group's imitators could match! Production is by the team of Gamble & Huff – already well-known associates of the group of musicians that includes Bobby Eli, Lenny Pakula, Leon Huff, Norman Harris, Vince Montana, and many more! Most of the titles here are instrumental remakes of familiar tunes – all given a Philly soul sound, and one heck of a groove! Titles include "Family Affair", "Freddie's Dead", "Back Stabbers", "Something For Nothing", and "Poinciana". CD also features a bonus track – "Family Affair (7" single version)". ~ Dusty Groove

PEGGY LEE – I LIKE MEN!

A pretty bold assertion from Peggy Lee on the title – but she backs it up nicely in this obscure album of "guy" songs from the end of the 50s! There's a playful feel to the music that fits Lee's vocals very well – as do the bouncy arrangements from Jack Marshall, who turns out to be one of the best musical partners that Peggy could ever hope for! The set's got that nice jazzy groove that really makes Lee's return to Capitol Records so great – and titles include "Good For Nothing Joe", "Charley My Boy", "Jim", "Bill", and "It's So Nice To Have A Man Around the House". ~ Dusty Groove

MIKE PRIDE – DRUMMER’S CORPSE

No drummer's corpse here – as, if anything, the sound of the album is more than enough to keep the drummer alive and well – thanks to work from percussionist Mike Pride, and an array of other guest players too! The title track takes up the whole first half of the album – and features Pride on drums, gongs, organ, and more – with help from an array of other percussionists who include Bobby Previte, Oran Canfield, Russell Greenberg, Tyshawn Sorey, Ches Smith, and John McLellan – all working in a very layered approach to sound that almost feels like a drum-based take on a Glen Branca score once it gets going. There's a bit of vocals layered somewhere in the mix – and on the second track, "Some Will Die Animals", the percussion is much more spare, just handled by Pride, with guitar from Chris Welcome, bass from Eivind Opsvik, and some added recitations too. ~ Dusty Groove

NEW RELEASES - GEORGIA ANNE MULDROW & DUDLY PERKINS, FAMILY ATLANTICA, SALLIE BLAIR

GEORGIA ANNE MULDROW & DUDLEY PERKINS - LIGHTHOUSE


A lighthouse of soul and spirit from the duo of Georgia Anne Muldrow and Dudley Perkins – coming together here in a mode that has both artists at the top of their game! The album's got a dense, layered feel that really lives up to the image on the cover – and definitely has the sort of political bent you'd expect from the pairing – served up over skittish cosmic beats and fuzzy freaky keyboards, with some distortion on the lyrics that really makes the whole thing crackle with energy right from the start! Titles include "Lighthouse", "Stand", "Power", "No More War", "Popstopper", "What", "Emo Funk", and "Muthadear". ~ Dusty Groove

FAMILY ATLANTICA – FAMILY ATLANTICA

A brilliant criss-crossing of group from this cool trans-global group – a set recorded in London, but with roots in Venezuela, LA, and Ghana – served up with a sound that's even greater than the sum of its parts! Malcolm Catto recorded the record – and really helps bring a funky energy to the record, by working alongside lead studio help from Jack Yglesias of The Heliocentrics – pushing here into a space that's even more offbeat than the grooves of that group! There's loads of rich acoustic instrumentation – especially percussion – and Mulatu joins the record at one spot, furthering the exotic appeal of the set. Some tracks have an almost ethnographic vibes, while others are a bit more contemporary – although the overall sound is more than worthy of placement on the Soundway label. Titles incude "Arena", "Cumbacutiri", "Fly Through The Lightning To Speak With The Sun", "El Negrero", "Escape To The Palenque", "Manicero", "La Familia", and "Speak To The Spirit Of The Sea". (Includes a bonus download of the album!) ~ Dusty Groove

SALLIE BLAIR – SQUEEZE ME

Sallie Blair never cut many records back in the day – but she's a hell of a great singer, and one with a really memorable approach! As you might guess from the image on the cover, Sallie's got a fair bit of personality – a way of putting over a tune that's really compelling, and a lot more charming than some of her more cool-voiced contemporaries – especially on the Bethlehem label. Her vocals are great, but her sense of individuality is even better – and there's a quality to the record that really makes it stand out from the pack. Richard Wess handles the arrangements – some with a small combo of Bethlehem players – Sal Salvador on guitar, Sanford Gold on piano, and Milt Hinton on bas – some with larger groups that expand the sound without losing the intimacy of the vocals. Titles include "Similau", "Better Luck Next Time", "Squeeze Me", "Come By Sunday", and "How Long Has This Been Going On". ~ Dusty Groove

NEW RELEASES - GEORGE BENSON, DECOY & JOY MCPHEE, JOAO GILBERTO REVISTED BY BRAZILIAN LOVE AFFAIR PROJECT

GEORGE BENSON – INSPIRATION: A TRIBUTE TO NAT KING COLE


A great old school session from George Benson – and maybe one of his best albums in years! The setting of the album is just what you'd expect from the title – a tribute to the late, great Nat King Cole – with vocals by George that have an uncanny way of matching Cole's phrasing, yet which also have that warm, raspy sound we love so much from Benson – and some of his excellent scat work too! Arrangements are by Randy Waldman and Nelson Riddle – and have this classic blend of strings and jazz that works perfectly for the set – and Benson gets help from guests who include Wynton Marsalis and Til Bronner on trumpets, plus Indina Menzel and Judith Hill too. Titles include "Route 66", "Nature Boy", "Ballerina", "Smile", "Walkin My Baby Back Home", "Unforgettable", "Too Young", and "Straighten Up & Fly Right". ~ Dusty Groove

DECOY & JOY MCPHEE – SPONTANEOUS COMBUSTION

Joe McPhee plays here with a Hammond organ trio – a setting that partially gets him back to the soulful sound of his roots, but which still keeps things in the freer mode of later years too! Joe starts out the performance with some wonderful solo work on pocket trumpet – played with these offbeat notes and inventive phrasing that might only be matched by Don Cherry's work on the instrument. The drums from Steve Noble come into the mix slowly, while the Hammond from Alexander Hawkins rolls in on these bold waves of sound – almost more forceful than any organ player of the headiest 70s years – spurred on by some rolling bass from John Edwards. Hammond dominates for the rest of side one – but then Joe switches to tenor, and gets some intimate, soulful space – before the organ comes rolling into the mix again! (Nice heavy sleeve and vinyl – and limited too!) ~ Dusty Groove

BRAZILIAN LOVE AFFAIR – VOCE E EU – JOAO GILBERTO REVISITED BY BRAZILIAN LOVE AFFAIR PROJECT

A sweet set of contemporary bossa gems – all older numbers made famous by Joao Gilberto in his early days – spun out with a very fresh finish here by the Brazilian Love Affair combo! The group work in a mostly live jazz mode, with just a bit of programming on the rhythms – and the album's especially heavy on Fender Rhodes, which updates an older bossa sound nicely – amidst older-styled instrumentation on acoustic guitar, Hammond, trombone, and flute. The vocals are great – with the same raspy charm of Joao's early recordings – that very human, very honest quality that made his singing so different from other vocalists of his generation – and titles include "Rosa Morena", "Desafinado", "Voce E Eu", "O Barquinho", "Saudade Fez Um Samba", "Ho Ba La La", and "Chega De Saudade". ~ Dusty Groove

NEW RELEASES - BEST OF BRUNSWICK: MELLOW & SOUL, ORQUESTA EL MACABEO, SAO PAULO UNDERGROUND

BEST OF BRUNSWICK: MELLOW & SOUL (VARIOUS ARTISTS)


The mellower side of Brunswick Records – that slow-stepping, mid-tempo mode that worked perfectly for the hipper side of Chicago soul at the end of the 60s! The tunes here aren't as laidback as soul ballads from other labels – as Brunswick always found a great way to give things a groove, even when moving slow – a quality that really put the label years ahead of other soul imprints, and which really helped focus that loping style of Chicago rhythm that really set the Windy City apart from Detroit, Philly, and other soul scenes. The package features some key illustrations of this mode – plus a few slightly more uptempo numbers, too – all wrapped up in one mighty nice collection! Titles include "Light My Fire" by Erma Franklin, "Seven Days Of Night" by Barbara Acklin, "Because Of You" by Jackie Wilson, "Hope We Have" by The Artistics, "This Is The Lost Generation" by Lost Generation, "From The Teacher To The Preacher" by Gene Chandler & Barbara Acklin, "I'm Gonna Get You" by Lavern Baker, "Stoned Out Of My Mind" by Maryanna Farra & Satin Soul, and "Honey Babe" by Ginji James. ~ Dusty Groove

ORQUESTA EL MACABEO - LLUVIA CON SOL

These guys just keep getting better and better – and this time around, they've got such a tight groove, it's hard not to compare the group with some of the best of the 70s salsa generation! Rhythms are right on the money, and the instrumentation is completely sublime – very jazzy, with lots of rich inflections – yet also able to hone to the groove at all the right moments, especially on the trombone and trumpet parts that give the record so much soul! Vocals are strong, too – and the use of tenor sax at just the right points almost acts like a second "voice" for the record – furthering the richness of the whole set. Titles include "Me Repito", "La Sensacion", "Boda", "No Te Debo Nada", "Macacoa", "Olvidame", and "Lluvia Con Sol". ~ Dusty Groove

SAO PAULO UNDERGROUND – BEIJA FLORS VELHO E SUJO

Bold grooves from Rob Mazurek – a man of two continents, with a range of talents that's deep enough to match! This set's by Rob's Sao Paulo Underground trio – a group who work here with heady styles that mix free jazz improvisation with electronics and even a bit of proggish jamming – all in this blend of electric and acoustic modes that's mighty nice! Rob's cornet soars out over a really hip brew that includes lots of keyboards, ring modulator, Evolver, harmonium, and other electronics – plus great acoustic elements on percussion and cavaquinho – used in a rich blend that makes for some of Mazurek's most complicated music to date – yet also some of his most powerful too. Tracks are short enough to avoid too much noodling – and although experimental, the set's also got a strong sense of focus, too – and always moves forward in a great way. Titles include "Basilio's Crazy Wedding Song", "Six Handed Casino", "Evetch", "The Love I Feel For You Is More Real Than Ever", "Over The Rainbow", "Into The Rising Sun", and "Taking Back The Sea Is No Easy Task". ~ Dusty Groove

ELVIS COSTELLO & THE ROOTS TO RELEASE "WISE UP GHOST" ON SEPT. 17

Elvis Costello and The Roots have announced today that a collaborative album entitled Wise Up Ghost will be exclusively released by Blue Note Records on Tuesday, September 17, 2013.

The existence of the record was first revealed by ?uestlove as an aside during an interview with Billboard in January. A small number of test pressings were distributed as white labels on Record Store Day on April 20 but the full release will follow later in the year.

Most of the sessions took place in secret at Feliz Habitat Studios in the dead of night, while others were in plain sight at Costello’s Hookery Crookery Studios. Elvis described the record as “the shortest distance between here and there” and containing “both rhythm and what is read”. Ahmir says, “It's a moody, brooding affair, cathartic rhythms and dissonant lullabies. I went stark and dark on the music, Elvis went HAM on some ole Ezra Pound shit.”

The solitary star announcing vacancy burnt out as we arrived

They'd throw us back across the border if they knew that we survived

It promises to be one of the most unexpected and surprising releases of 2013.

In addition to the fabulous Roots crew and friends, the record features a guest vocal appearance on “Cinco Minutos Con Vos” from La Marisoul, lead singer of the Los Angeles group, La Santa Cecilia.

The album was produced by longtime Roots associate, Steven Mandel together with Elvis Costello, and Ahmir “?uestlove” Thompson.

~ Blue Note Records

NEW RELEASES - CHIP STEPHENS TRIO, WAYNE WALLACE LATIN JAZZ QUINTET, TONY ADAMO

CHIP STEPHENS TRIO - RELEVANCY

Stephens, with trusted teammates Dennis Carroll on bass and Joel Spencer on drums, takes on a spectrum of material that touches on outstanding work by Carla Bley, Bill Evans, Sammy Cahn, and the acclaimed songwriting teams of Rodgers and Hart, and Van Heusen and Burke, as well as three Stephens originals that reveal his gift for lyricism and vivacious swing. The result is an album that celebrates the durable joys of the mainstream piano trio tradition while also asserting the in-the-moment creativity and intensity that can be brought to it. Relevancy is set for release on June 18 on Capri Records.

WAYNE WALLACE LATIN JAZZ QUINTET - lATIN JAZZ JAZZ LATIN

Wayne Wallace's new CD revamps traditional Cuban and Caribbean sounds as every tune reflects the inexorable flow of rhythmic currents between Caribbean and African-American communities, a diaspora communion responsible for unprecedented creative ferment.  Joining Wallace and his Latin Jazz Quintet are special guest percussion greats Pete Escovedo and Michael Spiro, violinists Mads Tolling and Jeremy Cohen and 17-year-old flute star Elene Pinderhughes. Wallace is a five-time Grammy Award nominee and is one of his generation's most eloquent trombonists and has been repeatedly named as a leading force on the horn in DownBeat polls. He's collaborated with a dazzling array of artists including Count Basie, Ray Charles, Joe Henderson, Carlos Santana, Lionel Hampton, Earth Wind & Fire, Sonny Rollins, Aretha Franklin, Tito Puente, Lena Horne, Stevie Wonder, John Lee Hooker, Earl "Fatha" Hines and cellist Jean Jeanrenaud, and is revered as an educator, player, composer, arranger, and producer with his label, Patois Records.

TONY ADAMO - MILES OF BLU

With Miles of Blu Tony Adamo has created a new genre: "HipSpokenWord." His powerful, relevant inventions float over groove concocted by master drummer and producer Mike Clark and supported by a host of stellar musicians.  Miles of Blu illuminates  the path to true hipness!. Tracks include JB; Miles of Blu; Funkin’ at the Chickn’ Shack; America R We Free?; BBQ; The Power of Funky Madness; Soul Vaccination; Don’t Change Horses; Ain’t That a Groove; Jack Kerouac, Jack!; Sun-Ra Rockets to Mars; What is Hip?; The Other Side of Time; and Tickn’ Clock.

NEW RELEASES - ESSENTIAL BRAZILIAN CLASSICS, NATHAN HAINES, LUCAS ARRUDA

20 ESSENTIAL BRAZILIAN CLASSICS - VARIOUS ARTISTS

Far Out has put together a refined collection of songs from an all-star ensemble of Brazilian legends such as Marcos Valle, Joyce and Azymuth. A perfect introduction to Brazilian music in all its facets and the sound of Far Out. Tracks include - The Ipanemas - Imperial; Joyce - Cidade Maravilhosa; Heidi Vogel - Modinha
Leila Pinheiro & Nelson Faria - Bala com Bala; Marcos Valle - Summer Samba So Nice (Samba de Verao) (Live in Rio de Janeiro); Azymuth - Linha do Horizonte; Ile Aye - Batmacumba; Grupo Batuque - Na Cadencia Do Samba; Rubens Bassini - Samba (Samba No Congo); Maria Moita - Maria Lucia; Clara Moreno - Pourquoi? (Nega Sem Sandalia); Myrzo Barroso - Consolacao; Banda Black Rio, Elza Soares & Cesar Carmargo Mariano - Isabela; Leila Pinheiro & Nelson Faria - Doce Presenca; Joyce - Berimbau; Clara Moreno - Vem Morena Vem; Trio Maraya - Canto de Ossanha; Banda Black Rio feat. Caetano Veloso - Aos Pes do Redentor; Leo Gandelman - Reza; and Victor Assis Brazil - Wave. ~ Far Out

NATHAN HAINES - THE POET'S EMBRACE

A really great change for saxophonist Nathan Haines – and that's saying a heck of a lot, given how much we already liked him before! The set's a straight jazz outing – of the kind that really lets Haines' strengths on reeds shine forth beautifully – soaring out soulfully in ways that are quite different than his more groove-oriented recordings – yet still equally soulful! Nathan's tenor is wonderful – as deep in tone and rich in feeling as some of the greats of the 60s generation – yet informed with a slight spiritual sense of phrasing as well, even though the overall production and setting is downright classic. The group's a quartet – with Kevin Field on piano, Alain Koetsier on drums, and Thomas Botting on bass – and titles include the Haines' originals "Realisation", "Universal Man", "Ancestral Dance", "The Poet's Embrace", and "Consequence" – plus a version of Roy Brooks' "Eboness". ~ Dusty Groove

LUCAS ARRUDA - SAMBADI

A contemporary set, but one that sparkles with all the best brilliance of the 70s scene in Brazil – and that includes such heady company as Marcos Valle, Azymuth, and Joao Donato! As with all those artists at the time, Lucas Arruda has a groove that's strongly based on Fender Rhodes – warm keys that are underscored with some great acoustic percussion that gives the whole thing an earthy core at the bottom, and a vibe that's quite different than any American fusion of the time! The music is completely sublime throughout – very jazzy in its inflections, but also with a more freewheeling approach – as you'd hear on classic keys from Jose Roberto Bertrami. The set's got a bit of vocals, but really focuses on the keyboards – and titles include "Physis", "Rio Afternoon", "Batuque", "Alma Nova", "Sambadi", "Carnival", and a sweet cover of "Who's That Lady". ~ Dusty Groove

NEW RELEASES - MAURICE JOHNSON, CHIELI MINUCCI & SPECIAL EFX, JOE LOCKE

MAURICE JOHNSON - PEACE LOVE & JAZZ

Peace, Love & Jazz is a new album from guitarist Maurice Johnson. With this release, Johnson ambitiously explores the diverse realm of artistic expression as composer, arranger and guitarist, ideally and uniquely evolving into his own signature sound. On Peace, Love & Jazz Maurice is joined by a host of musician peers of veteran status along with some extremely talented young newcomers as well. Immersed in a plethora of musical textures, Johnson’s guitar remains firmly intact as the centerpiece of each composition with distinct, bold and majestic appeal. Always the first to admit, a lot of his sound is hinged on jazz, but when asked what style he plays, there’s an obvious reluctance to supply a generic response defining only a single genre. “But if jazz is what you hear, that’s okay.” says Johnson. The album’s title, which Johnson embraces as his personal mantra is a mere reflection of his own self journeying through pivotal points of personal serenity, love of family and a strong common bond to deep seated jazz roots. ~ www.mauricejohnson.com

CHIELI MINUCCI & SPECIAL EFX - GENESIS

Special EFX and its award winning leader, guitar virtuoso Chieli Minucci have sold close to a million albums. Chieli Minucci & Special EFX virtually define the Smooth Jazz genre. Genesis brings together some of Special EFX's all time favorite collaborators such as Mino Cinelu and Omar Hakiem (of Sting and Miles Davis fame) and virtuoso violinist Karen Biggs (Yanni) to collaborate on 11 thrilling originals that combine the magic of the last 30 years with the freshness of today. The album kicks off with the funky Crazy 8s the first of many hit singles to come from this brilliant album. Other highlights include the mystical vocal Mirage sung by up and coming Shanghai vocalist Feiya Xu, the romantic Blue Lagoon featuring keyboardist Lao Tizer. ~ amazon.com

JOE LOCKE - LAY DOWN YOUR HEART

Following his two highly acclaimed recent releases Signing and Wish Upon A Star, vibraphonist extraordinaire Joe Locke goes for the three-peat with his most personable and accessible quartet recording to date, with gorgeous renditions of blues and ballads from Bill Withers to Bonnie Raitt. Recent releases garnered much critical acclaim, including a five-star review in Jazz Journal, a four-star review in JazzWise, and rave reviews from All About Jazz, All Music Guide, eMusic, and more. One of the most respected vibraphonists in jazz, as well as one of the most exciting live performers to watch! His stellar reputation as a must-see live act, combined with the promo campaign for this stellar disc, is sure to stimulate a lively touring schedule. ~ amazon.com

JIMMY CLIFF - THE KCRW SESSION SET FOR RELEASE IN JUNE

Last June, reggae legend Jimmy Cliff visited Los Angeles’ KCRW for a live acoustic performance of nine songs on the public radio station’s acclaimed program, “Morning Becomes Eclectic,” hosted by KCRW Music Director Jason Bentley. The recording of the live broadcast, titled The KCRW Session, will be released on June 25 by Universal Music Enterprises.

“This session is one of my fondest memories from the KCRW studios”.

Broadcast live on June 28, 2012, The KCRW Session features selected songs from Cliff’s acclaimed, GRAMMY®-winning (Best Reggae Album) 2012 album, REBIRTH, as well as classics from the Rock and Roll Hall of Famer’s catalog. The KCRW Session includes “Trapped,” Cliff’s cover of The Clash’s “Guns Of Brixton,” “World Upside Down,” “Wonderful World, Beautiful People,” “You Can Get It If You Really Want,” “Children’s Bread,” “Many Rivers To Cross,” “I Can See Clearly Now,” and “One More.” All of the session’s songs were performed by Jimmy Cliff on guitar and vocal.

“This session is one of my fondest memories from the KCRW studios,” says Bentley. “Jimmy Cliff sat right down with his guitar and gave 110% on every song, and then proved himself a gentleman in thoughtful conversation. We all felt graced by a living legend that day, and we witnessed a truly special performance that I'm proud to say lives on through this recording.”

Jimmy Cliff’s entire “Morning Becomes Eclectic” performance is available for video streaming on KCRW.com: http://www.kcrw.com/music/programs/mb/mb120628jimmy_cliff/hd-showcase.

REBIRTH paired Jimmy Cliff with the award-winning producer and punk legend Tim Armstrong, who produced the 13-track album. Armstrong also produced Cliff’s Sacred Fire EP, released late in 2011. Rolling Stone magazine hailed Cliff’s hotly anticipated return to form as his “best music in decades” and named REBIRTH one of 2012’s top albums. REBIRTH debuted at No. 1 on Billboard’s Reggae chart and held the top position for five weeks straight.

www.jimmycliff.com
www.facebook.com/jimmycliffmusic
www.twitter.com/thejimmycliff

JIMMY CLIFF: The KCRW Session
1. Trapped / 2. Guns Of Brixton / 3. World Upside Down / 4. Wonderful World, Beautiful People / 5. You Can Get It If You Really Want / 6. Children’s Bread / 7. Many Rivers To Cross / 8. I Can See Clearly Now / 9. One More

NEW RELEASES - BRAZUCA! - SAMBA ROCK & BRAZILIAN GROOVES, YATHA BHUTA JAZZ COMBO, PAT METHENY

BRAZUCA! - SAMBA ROCK & BRAZILIAN GROOVES FROM THE GOLDEN YEARS 1966 TO 1978

Amazing sounds from one of the greatest periods in Brazilian music – that heady late 60s/early 70s stretch when it seemed like everything was up for grabs – and new genres, new sounds, and new styles were being created all the time! This cooker of a collection focuses on the unique hybrid of funk and samba that took place at the time – a sound also known as Samba Soul, but served up here with a really well-selected batch of tracks that goes way past the obvious – to really reinscribe a whole new version of this musical generation, pulled together from rare wax of the 70s! The groove is bouncy and upbeat, but often has some cool unexpected twists and turns too – with titles that include "Mister Brown" by Bebeto, "Quem Vem La" by Marisa Rossi, "Turma Do Pole" by Arnaud Rodriguez, "16 Toneladas" by Moriel Vilela, "Sou Negro" by Toni Tornado, and "Tatarue" by Giovana. ~ Dusty Groove

YATHA BHUTA JAZZ COMBO - YATHA BHUTA JAZZ COMBO

A surprisingly spiritual collaboration between Onra and and Buddy Sativa – one that's filled with lots of rich acoustic sounds that recall the glory days of the 70s spiritual jazz scene and the post-Coltrane years on Impulse Records! Most of the music is handled just by the two musicians, working with overdubs – and laying down bits of flute, kalimba, electric piano, Arp, harp, vibes, bass, and plenty of percussion – a very heady brew that stretches out with a deep, organic vibe that's mighty nice! Despite it's contemporary origin, the set feels a lot like some lost indie pressing from the 70s – with tracks that include "Wandering Wondering", "Endangered Species", "Universe Is Love", "UFO Paradise", "Dark Karma", and "Honey Hash Rose". ~ Dusty Groove

PAT METHENY - TAP: THE BOOK OF ANGELS VOLUME 20

A pretty wonderful little concept – Pat Metheny plays music composed by John Zorn – all at a level that resonates both with the wonderful modes we've been hearing from Zorn of late, and with the most adventurous modes of Metheny's early years! Pat's virtually solo on the set – save for some help from Antonio Sanchez on drums – and plays a range of different electric and acoustic guitars, plus sitar, piano, keyboards, bandoneon, percussion, and even a bit of flugelhorn too – instruments that create a rich tapestry of sounds and textures, often with these exotic musical moments that are a real change for Metheny! The album's a delightful surprise all the way through – and titles include "Albim", "Phanuel", "Hurmiz", and "Sariel". ~ Dusty Groove

DAVE LIEBMAN / MICHAEL STEPHANS - LINEAGE: ROCK AND POP CLASSICS REVISITED

Since he began to seriously pursue a career as a jazz artist back in the 1960s, Dave Liebman has been on a transformative journey towards becoming a true original in the genre. After assuming sideman slots with the likes of Miles Davis , Elvin Jones , and Chick Corea, to name but a few, he has certainly earned his stripes. Those who've followed him more closely understand that he has become a deep and soulful storyteller in jazz in a way few others have.

So what would you say to a trailblazer like Liebman when you discover he's taken a batch of beloved pop songs-sweet, memorable, hummable "chestnuts" in the popular lexicon-and completely deconstructed it?

Liebman has, over the years, proved to be a risk-taker, a challenger, someone who purposely defies convention in a way that every iconoclast, especially musical ones, dare to every chance they get. After such an illustrious career, it's evident that Liebman has earned the right to cherry pick his projects and challenges. Lineage is just that kind of project.

Billed as "rock and pop classics revisited," Lineage is actually a project long in coming. Liebman and drummer Michael Stephans talked about the idea a few years ago and started compiling a wish list of possible songs. Given the trajectory and complexity of Lieb's career, they never got the chance to pull it off. Still it hung around and never really faded out of view.

In 2010, the idea resurfaced. Lieb, with Stephans, guitarist Vic Juris , Bobby Avey on keys, Evan Gregor on bass, and woodwinds guru Matt Vashlishan began working on them the way a baker kneads hunks of dough. The list of potential covers, begun years back by Lieb included several of their favorite songs from the 50s and 60s by artists like Elvis, the Ventures, and, of course, the Beatles.

Produced by Liebman and Stephans, recorded at Tommy Tedesco's Tedesco Studio and mixed by Marty Mellinger at Cross Keys, the recording, on the Whaling City Sound imprint, falls at a beautiful and logical crossroads of Liebman's career…in which he is comfortable enough to go "pop," inventive and mature enough to deconstruct songs with wit and imagination, and entertaining enough to make sure he doesn't leave listeners on either the pop or the jazz sides behind in the process.

SLY & THE FAMILY STONE NEW DELUXE 4-CD BOX SET, HIGHER!

The music of Sly & The Family Stone is celebrated with a new 4-CD box set, Higher!, available everywhere August 27th through Epic/Legacy, a division of Sony Music Entertainment. Released in celebration of Sly Stone's 70th birthday, Higher! is the first career-spanning anthology to celebrate the musician whose funk has influenced everyone from Miles Davis and Michael Jackson to Public Enemy and the Roots. Housed in a colorful slipcase with a lavishly-illustrated 104-page book, the box set will feature 77 tracks, 17 of them previously unreleased.

Spotlighted throughout the first three CDs of Higher! are rare mono single masters of every classic Sly & The Family Stone signature hit like they've never been heard before in the digital era. Paying homage to the golden age of transistor radios are mono versions of "Dance To the Music," "Everyday People," "Stand!," "I Want To Take You Higher," "Hot Fun In the Summertime," "Thank You (Falettinme Be Mice Elf Again)," and many others, more than 30 mono single masters and mono album cuts that were a call-out to get up and dance, dance, dance. Decades after the chart debut of Sly & The Family Stone with the game-changing "Dance To The Music," fans and newcomers will have the opportunity to dig into this far-reaching anthology, covering the recording career of Sylvester Stewart starting in 1964, and the band he master­minded from 1966 to 1977 on Epic Records.

Higher! pays tribute to the unique style of Sly & The Family Stone with its innovative ten-inch square package design, which houses the CDs in its interior pockets. The middle compartment contains a painstakingly detailed 104-page book featuring a liner notes essay, a beautifully-illustrated timeline of Sly's career, track-by-track annotations, rare and uncirculated photography, 45 rpm label and picture sleeve repros, eye-popping vintage concert posters and ticket stubs from Sly & The Family Stone shows, and more.

Sly & The Family Stone laid down a template that not only inspired an era of youthful rebellion and independence as the '60s turned into the '70s, but also had (and continues to have) a potent effect on the course of modern music in general. Sly's DNA is traceable to every cell of the musical stratosphere.

"Sly Stone's music is relevant because he was able to take from all the influencing genres before him and along side him, and combine it like gumbo," said Public Enemy frontman Chuck D. "Then inside the band, having women, having it mixed race and ethnic background − I mean, come on now. You really couldn't point and say 'well, this is the reason why it's funky,' it's all this together like gumbo that's making this happen. And Sly & The Family Stone was the epitome of a group playing the music, saying the lyrics, and also backing with the words."

Sly & The Family Stone have been inducted into the Rock And Roll Hall Of Fame and the Grammy Hall Of Fame, and have received the R&B Foundation Pioneer Award, among many other recognitions of their importance and enduring influence.

Higher! is a tribute to the far-reaching horizons of Sly & The Family Stone. Their repertoire, every composition penned by Sylvester Stewart aka Sly Stone, kept the Pop and R&B charts jumping for seven glorious years from 1968 to 1975. There are the three career-defining RIAA gold Billboard #1 Pop/#1 R&B hits, "Everyday People," "Thank You (Falettinme Be Mice Elf Again)" and "Family Affair." Their signature Top 40 hits began with "Dance To the Music" and went on to include "Stand!," "I Want To Take You Higher," "Hot Fun In the Summer­time," "Runnin' Away," "If You Want Me To Stay," "Time For Livin'," and more. Their top-charted RIAA gold, platinum and multi-platinum albums include Stand! (1969), Greatest Hits (1970), There's A Riot Goin' On (1971), and Fresh (1973), every one a must-have.

In addition to those durable numbers (all of which are in mono up through 1969's "Thank You (Falettinme Be Mice Elf Agin)", Higher! opens CD One with seven pre-Epic Records tracks. These include five rare solo sides by 'Sly Stewart' during his time as A&R-producer-song­writer-staff musician circa 1964-'65 at San Francisco's Autumn Records . These include both sides of the rare (and widely bootlegged in the U.S. and Europe) Loadstone Records single of January 1967 by Sly & The Family Stone, which helped win the band their Epic Records deal. One of these sides is a cover of Otis Redding 's "I Can't Turn You Loose." The Epic story begins with the mono single master of "Higher" in May 1967 (Disc One, track 8).

Of the many impossibly rare and fascinating inclusions on Higher! special attention is paid to the four tracks that close CD Three. They were recorded live at the Isle of Wight Festival in the UK, early Sunday morning, August 30, 1970, one year after Sly's memorable wee hours performance at the Woodstock Music & Art Fair . Two of the Isle of Wight numbers, "Stand!" and "You Can Make It If You Try," were subsequently issued on the Columbia three-LP release from 1971, The First Great Rock Festivals Of The Seventies. (The big multi-artist package coupled Isle of Wight performances with others at the first Atlantic Pop Festival of July 1970.) The two other numbers by Sly & The Family Stone at Isle of Wight, namely "Dance To The Music" and the medley of "Music Lover / I Want To Take You Higher / Music Lover" (a variation on their medley from the Woodstock soundtrack album), are both previously unissued until now.

Higher! serves as a new model for the most diligent and imaginative efforts that can go into a vintage collection of this nature. The box set was produced by Legacy Recordings veteran and Sundazed Records owner Bob Irwin , with Project A&R by Rob Santos at Legacy. All music was mastered by Vic Anesini at Battery Studios in New York.

Three major elements are central to the 104-page book. There is the authoritative liner notes essay written by Jeff Kaliss , author of I Want To Take You Higher: The Life And Times Of Sly & The Family Stone, the group's only authorized biography. The booklet also contains a comprehensive, lavishly-illustrated timeline compiled by Dutch authorities Edwin & Arno Konings . Nearly 100 entries span from March 15, 1943 (" Sylvester Stewart is born in Denton, Texas. Six months later, the family moves to Vallejo, California") to a final update in late-2012. The Koningses have also contributed track-by-track annotations for all 77 cuts in Higher! The notes contain excerpts from Thank You, the Koningses' own forthcoming biography of Sly & The Family Stone. (Go to www.slystonebook.com).

Every track-by-track annotation contains at least one revelation, as told to the writers by original Sly & The Family Stone band members Greg Errico, Larry Graham, Jerry Martini, Cynthia Robinson, and Sly Stone himself, as well as such figures as Rachel Donahue (widow of Tom Donahue ), managers Rich Romanello (1967) and David Kapralik (1967-1972), Epic A&R man Stephen Paley , bassist Rustee Allen (who succeeded Graham in 1973), all three drummers who succeeded Errico post-1971 ( Gerry Gibson , Andy Newmark , Bill Lordan ), various background vocalists, saxophonists, bassists, and so on. All their collective statements and observations, as transcribed by the Koningses, add to the value of Higher! as a valuable memoir in and of itself.

"Refracted in these treasures," Kaliss says of the kaleidoscopic delights on Higher! "are colors you may be unused to seeing in Sly: old R&B, jazz, nursery rhymes, gospel, and even country, fused and transformed by a precious visionary and his fellow musical alchemists."

In addition to Jeff Kaliss , and Edwin & Arno Konings , other essential reading includes: Sly and the Family Stone: An Oral History by Joel Selvin (HarperCollins, 1998); and There's A Riot Going On by Miles Marshall Lewis (Bloomsbury "33 1/3" series, 2006).

Higher! by Sly & The Family Stone
Disc One (1964-1967):
1. I Just Learned How To Swim by Sly Stewart ( Autumn Records single, 1964)
2. Scat Swim by Sly Stewart (Autumn single, 1964)
3. Buttermilk (Part 1) by Sly (Autumn single, 1965)
4. Dance All Night by Sly and Freddie (1965, originally unissued)
5. Temptation Walk by Sly (Autumn single, 1965)
6. I Ain't Got Nobody (For Real) (Loadstone single, 1967)
7. I Can't Turn You Loose (Loadstone single, 1967)
8. Higher (mono Epic single master, promo only, 1967)
9. Underdog (mono Epic single master, 1967)
10. Bad Risk (mono Epic single master, 1967)
11. Let Me Hear It From You (mono Epic single master, 1967)
12. Advice (A)
13. If This Room Could Talk (A)
14. I Cannot Make It (A)
15. Trip To Your Heart (A)
16. I Hate To Love Her (A)
17. Silent Communications (1967, previously unissued)
18. I Get High On You (version one, 1967, previously unissued)
19. I Remember (1967, previously unissued)
20. My Woman's Head (instrumental demo, 1967, previously unissued)

Disc Two (1967-1968):
1. What's That Got To Do With Me (1967, previously unissued)
2. Fortune And Fame (1967, previously unissued)
3. What Would I Do (1967, originally unissued, B)
4. Only One Way Out Of This Mess (1967, originally unissued, B)
5. I Know What You Came To Say (1967, previously unissued)
6. Dance To The Music (mono Epic single master, 1967)
7. Ride The Rhythm (C)
8. Color Me True (C)
9. Are You Ready (C)
10. Don't Burn Baby (C)
11. We Love All (D)
12. Danse A La Musique by The French Fries (mono Epic single, 1968)
13. Small Fries by The French Fries (mono Epic single, 1968)
14. Chicken (mono Epic single master, 1968)
15. Into My Own Thing (E)
16. Life (mono Epic single master, 1968)
17. Love City (1968, previously unissued mono mix)
18. M'Lady (mono Epic single master, 1968)
19. Dynamite! featuring Johnny Robinson on vocals (1968, previously unissued)
20. Undercat (instrumental, 1967, previously unissued)

Disc Three (1968-1970):
1. Everyday People (mono Epic single master, 1968)
2. Sing A Simple Song (mono Epic single master, 1968)
3. I Get High On You (version two, 1968, previously unissued)
4. Wonderful World Of Color (instrumental, 1968, previously unissued)
5. Pressure (originally unissued, F)
6. I Want To Take You Higher (mono Epic single master, 1969)
7. Seven More Days (originally unissued, F)
8. Feathers (instrumental, 1968, previously unissued)
9. Somebody's Watching You (G)
10. Sex Machine (G)
11. Hot Fun In The Summertime (mono Epic single master, 1969)
12. Everybody Is A Star (mono Epic single master, 1969)
13. Thank You (Falettinme Be Mice Elf Agin) (mono Epic single master, 1969)
14. Stand! (LIVE at the Isle of Wight Festival, August 30, 1970, H)
15. You Can Make It If You Try (LIVE, same as track 14, H)
16. Dance To The Music (LIVE, same as track 14, previously unissued)
17. MEDLEY: Music Lover / I Want To Take You Higher / Music Lover (LIVE, same as track 14, previously unissued)

Disc Four (1971-1977):
1. Luv N' Haight (Epic single master, 1971)
2. Family Affair (I)
3. Brave & Strong (Epic single master, 1971)
4. Runnin' Away (Epic single master, 1971)
5. (You Caught Me) Smilin' (Epic single master, 1971)
6. Spaced Cowboy (I)
7. You're The One featuring Little Sister (LIVE on Don Kirshner 's Rock Concert, September 1973, peviously unissued)
8. In Time (J)
9. If You Want Me To Stay (Epic single master, 1973)
10. Frisky (Epic single master, 1973)
11. Skin I'm In (J)
12. If It Were Left Up To Me (Epic single master, 1973)
13. Time For Livin' (Epic single master, 1974)
14. Can't Strain My Brain (Epic single master, 1974)
15. Loose Booty (K)
16. Le Lo Li (Epic single master, 1975)
17. Crossword Puzzle (Epic single master, 1975)
18. Family Again (Epic single, 1976)
19. Hoboken by Sly Stone (originally unissued, 1975-1977)
20. High by Sly Stone (1975, previously unissued)

Epic Records album index:
A – from A Whole New Thing (originally released November 1967, as Epic LN 24324, mono)
B – from A Whole New Thing (Expanded Edition) (originally released April 2007, as Epic/ Legacy 82796 90277 2)
C – from Dance To The Music (originally released April 1968, as Epic BN 26371)
D – from Dance To The Music (Expanded Edition) (originally released April 2007, as Epic/Legacy 82796 90274 2)
E – from Life (originally released November 1968, as Epic BN 26397)
F – from Life (Expanded Edition) (originally rel. April 2007, as Epic/Legacy 82876 83945 2)
G – from Stand! (originally released April 1969, as Epic BN 26456)
H – from The First Great Rock Festivals Of The Seventies (originally released August 1971, as Columbia C 30807)
I – from There's A Riot Goin' On (originally released October 1971, as Epic KE 30986)
J – from Fresh (originally released June 1973, as Epic KE 32134)
K – from Small Talk (originally released July 1974, as Epic PE 32930)

Source: Legacy Recordings