VALERIE JUNE - PUSHIN' AGAINST A STONE

If Valerie June had been a roots artist in America 80 years ago, and she often sings as if she was, she might have been a principle influence on today’s myriad retro troubadours, hers a stunningly emotive amalgamation of blues, folk, gospel, soul, Appalachian and bluegrass (including irresistible banjo). She exists, however, today, an artist as modern as an iPod Shuffle, a musician for the generation which carries the entire history of recorded music so casually inside its phone.


Like a potent distillation bubbling on a Prohibition-era porch, Valerie June makes self-styled “organic moonshine roots music”, music for the porch parties of today, a party where she strums her guitar, plucks her banjo, opens her mouth and delta-blues-country stridently sashays out, a stunning peal somewhere between Dolly Parton and Billie Holiday. Or is it more Wanda Jackson and Shirley Goodman, you know, from Shirley & Co, who sang Shame Shame Shame so disco friskily in 1974? Valerie June does this to you: reaches inside your musical brain and shakes it, unleashing ghosts, emotions and memories, all fluttering like countless musical flakes inside the snowglobe of your mind.

A self-taught musician, singer and song-writer from small-town Humboldt, Tennessee (population 8,000), she honed her astonishing sound in the vibrant Memphis atmosphere, her spectrum of influences the history of music itself: Elizabeth Cotten, Leadbelly, The Carter Family, Whitney Houston, Van Morrison, Dolly Parton, Roscoe Holcomb, Woody Guthrie, Nico, Junior Kimbrough, Nina Simone, Bob Dylan, The Beatles, Nick Drake, Leonard Cohen, Joni Mitchell, Tracey Chapman, Billie Holiday, The Rolling Stones, Blind Lemon Jefferson, Mississippi John Hurt, Gillian Welch, Townes Van Zandt, Elmore James, Skip James, Blind Willie McTell, Memphis Minnie…

“Being from Jackson and Humboldt, Tennessee, I was raised one hour from Memphis and two hours from Nashville,” lilts Valerie June, in her sing-song, southern belle way. “It was and still is hard to go anywhere without hearing

country and blues music. It always reminds me of home. It’s the place in art where the colour lines of the South seem to blend.”Her debut album, though, is that most rare of contemporary concepts: unique.

Pushin’ Against A Stone, released on Rob da Bank’s stellar boutique label Sunday Best, was mostly recorded at The Black Key’s Easy Eye studio in Nashville. Produced by Dan Auerbach (The Black Keys) and Kevin Augunas (Edward Sharpe & The Magnetic Zeros, Florence & The Machine) it’s a sonic postcard from the universe, where the atoms of history live.

“I just love old records,” she smiles, a beautiful woman with old-school dreadlocks spiraling out towards freedom. “I like the crackle, the gritty sound. So do a lotta other people! I think we just wanna hear real music. Alongside the modern beat-machine music. For a while it was only moving in a new direction and people started missing the old stuff. I think it’s something people long for.”

The debut single, Workin’ Woman Blues, is a riot, a brand new bona-fide blues-pop anthem, as if Bobbie Gentry fronted a Stax soul-revue, those mesmerising vocals telling it how it is: “I ain’t fit to be no mother, I ain’t fit to be no wife, yeah, I been workin’ like a man, y’all, I’ve been working all my life.” Elsewhere, there’s the delicate yet rousing triumph of Somebody To Love (featuring the iconic Booker T. Jones), the traditional folk-gospel charm of Trials, Troubles, Tribulations, the spectral, swampy wooziness of Pushin’ Against A Stone (The Specials meets Phil Spector) and the dizzy, harmonised, Shangri-La sashay of Wanna Be On Your Mind, Valerie June’s voice sounding, somehow, both as old and wise as mother nature and as playfully naïve as a schoolgirl skipping home. Staggeringly, she’d never worked with a producer before, the experience opening her up to infinite new atmospheric possibilities.

“It was different,” she says. “ I’d been holding on to a particular image of what I wanted to be as a folk musician, a country musician, a southern roots musician. But when I heard the producers’ ideas I thought, ‘think bigger’. I looked at the careers of Joni Mitchell, Van Morrison, Joan Baez and they’ve put out all kinds of

music over the course of their careers so far. If I wanna put out a punk rock record next week, that’s me. It’s all coming from me. Even if I have to continue juggling jobs, I am a career artist.”

We don’t hear so much, these days, from the old-school working class girls, the ones who can’t afford the freedom to pursue their most daring dreams. Valerie June, the eldest girl of five kids (who’d often pretend to be the Jackson Five), first learned to sing in church, both a black church and later, a white church, when her family moved to the country. People sang in church, “even when they couldn’t sing” and she’d mimic them all, “from homeless people to wealthy people until my own voice just started coming out, a mixture of everyone”. She had her first jobs as a teen, helping her dad, both a promoter for local gospel singers and in the construction business (she’d hang posters in town and then head to the demolition sites). Soon she was constantly singing, writing songs, a freedom-seeking spirit who went travelling as a wandering songbird up and down the American west coast, then the east coast, a gypsy nightingale and holistic craftswoman who’d sing for tips in subway stations and sell her own handmade soap. By the time she moved back to Memphis in 2000, she had a plethora of songs written and finally taught herself guitar and banjo, as neighbourhood eyes were raised. “Black people aren’t supposed to play the banjo,” she laughs, “it’s seen as country and bluegrass but it’s an African instrument. I love it.” Soon, she was testing out her tentative musical skills in Memphis bars and restaurants, “which was more teaching myself in front of people,” she notes. “Memphis is a good town for being born as an artist. If you make a mistake people are like, ‘we heard the good part’. They nurture you. You can take your time.”

With a dream to make a studio album and no cash to fund it, “it’s hard to think about making a record when you’ve gotta pay rent”, she went to work full-time, now tunneling her way to freedom like Andy Dufresne in the Shawshank Redemption through daily, determined graft. She took on numerous service jobs: housekeeper, dog-walker, babysitter, vegetarian meal cooker, house sitter and personal assistant to the wealthy. And that was just the morning. “In the

afternoon, I’d work in a herb shop, Maggie’s Pharm. Then I would go play a gig, just me and my guitar.”

She began to musically emerge, playing the Memphis Music & Heritage Festival, the International Folk Alliance Conference, the Cooper-Young Festival, the King Biscuit Blues Festival in Helena, AR, finally making enough money for three lo-fi recordings which she sold as CDs on tour: the raw, acoustic The Way Of The Weeping Willow (recorded in an 1800s farmhouse), the vocally mesmerising Mountain Of Rose Quartz and the haunting Valerie June And The Tennessee Express, a collaboration with Nashville bluegrass troupe The Old Crow Medicine Show (who’ve toured with Mumford & Sons). “They’re very successful at what they do, they loved my music and said ‘hey, don’t worry about money just come and record a few songs with us’.”

In 2009 she was a featured artist on MTV’s online series $5 Cover (following the lives of Memphis musicians attempting to make ends meet) and eventually raised $15,000 through crowd-funding website Kickstarter to record a debut album proper. Then, the universe intervened: through word-of-mouth, the manager for producer Kevin Augunas heard Valerie’s music, sent it to Augunas, who loved it so much he flew into Memphis the following day. He asked who she’d like to write with and she suggested Dan Auerbach, whose solo work she’d loved (and who had recently moved to Nashville). Valerie, deliberately, had never signed to a record label before, although there had been no shortage of offers from both major and independent US-based labels, and was spotted playing in France by Sunday Best’s label partner Sarah Bolshi. “I never signed a label deal because it didn’t feel right,” she says. “I need to be with people who not only like this record but my stripped down stuff too. People will tell you, ‘you can do whatever you wanna do with our label’. I didn’t trust anybody telling me that until I met Sarah! And it’s more me, a speciality label.”

Pushin’ Against A Stone is so-called because that’s the story of her life – and the story of her forebears, too. “I feel I’ve spent my life pushing against a stone,” she says. “And the jobs I’ve had have been fitting for getting a true feel for how

the traditional artists I loved came home after a hard day to sit on the porch and play tunes until bedtime. That’s one reason why they were older before anybody cared. When I first started playing instruments I thought, OK, I’m probably not gonna be the next Beyonce, this is not gonna happen for me until I’m very very old. Like…Seasick Steve! Who I love. And then maybe somebody will come see me play in my shack in Mississippi. That’s kinda how it is for many artists who make roots music. So I’m just really happy it’s happening now and I’m not up there with my cane.”

Good things come to those who wait and Valerie June’s time is now, the last year bringing rave reviews at SXSW, a collaboration with Grammy-nominated Fugees producer John Forte (on the hip-hop-blues song Give Me Water) as the word-of-mouth whisper has gradually grown into a collective global holler. This September, one of her friends sent her a Facebook message saying she’d seen a video of her glorious Bestival Performance. “And she said, ‘you’re gonna be a huge star’,” smiles the captivating Valerie June. “A while ago I would’ve been like, I dunno about being a huge star. But now I’m like, you know what? If I can get a break? I will take it. I deserve it. I have paid my dues! I can’t work on Maggie’s Pharm no more. If you wanna bring me a coffee, yeah, I’ll let you bring it. Because I have been the person bringing the coffee. I don’t need any more experience in that. Now, being a queen? M’Kay! I think I can use a little spoiling. Bring it on.”

~ Concord Music

BETH HART & JOE BONAMASSA TEAM UP FOR SECOND SET OF SOUL COVERS - SEESAW

Much buzzed about singer-songwriter Beth Hart , known for her raw and powerful blues-rock sound, and guitarist Joe Bonamassa , one of the best guitarists of his generation, will release their sophomore album of classic soul covers Seesaw on May 21, 2013 via J&R Adventures (and May 20 in Europe). Produced by Kevin Shirley ( Joe Bonamassa , Led Zeppelin, Black Crowes), the album features Hart's scorching interpretations of eleven songs, with Bonamassa on guitar and an all-star band filling out the tracks. It was recorded in January 2013 at Revolver Studios in Thousand Oaks, CA and The Cave in Malibu, CA. The duo will play a select run of live shows in Europe in June, with two Amsterdam dates at Carre Theatre being filmed for a future DVD release.

A force of nature with powerhouse vocals, Hart has been in the spotlight since her show-stopping set with Jeff Beck on the 2012 Kennedy Center Honors to pay tribute to blues legend Buddy Guy . The duo received a rare, non-honoree standing ovation when they played "I'd Rather Go Blind" – a song she and Bonamassa originally covered together on Don't Explain – which the Baltimore Sun called a "soul-searing performance." Hart reunited with Beck onstage at last week's Eric Clapton 's Crossroads Guitar Festival, which featured blues and guitar greats like Albert Lee , Taj Mahal , B.B. King , Sonny Landreth , Keith Urban , Keb' Mo', and John Mayer . Together they performed Howlin' Wolf's "I Ain't Superstitious" and the Beck/Stevie Ray Vaughan-penned "Goin' Down."

Seesaw is the follow up to 2011's Don't Explain, on which Slant called Hart "a simply peerless frontwoman;" AllMusic.com said "Bonamassa and band accent her every phrase with requisite rowdiness, sting and grit." About.com called the duo "a match made in heaven" and MOJO praised their "potent musical chemistry." The album was nominated for a 2012 Blues Music Award.

Seesaw opens with a joyous horn reveille to kick off "Them There Eyes," made famous in 1939 by Billie Holiday —one of Hart's biggest inspirations. "My mother turned me on to this song when I was a kid," says Beth. "I love the bubbliness. It's sexy, it's fun, and it has a great swing to it." On the track "Nutbush City Limits," Hart wails with an intensity that would make Tina Turner proud, and her slow and soulful burn on "I Love You More Than You'll Ever Know" pairs dramatically with Bonamassa's smoking guitar. The tempo kicks up several notches with Hart's tight, rocking vocals on "Can't Let Go," from Lucinda Williams ' Grammy-winning 1998 album Car Wheels On A Gravel Road. It's followed by her fierce cover of " Miss Lady ," the Buddy Miles song that was originally produced by Jimi Hendrix . Hart revisits Melody Gardot's songbook to deliver a sultry, jazzy rendition of "If I Tell You I Love You." "See Saw," is a Don Covay / Steve Cropper composition from Aretha Franklin 's 1968 album Aretha Now. The album closes with Hart's haunting and atmospheric version of "Strange Fruit," a song that began as a poem about American racism—and lynching—by Abel Meeropol .

To back Hart up, Bonamassa assembled the band that was heard on his #1 Blues album The Ballad of John Henry (2009) and on Don't Explain: Anton Fig (drums, percussion), Blondie Chaplin (guitar), and Carmine Rojas (bass), as well as Arlan Schierbaum (keyboards). Lenny Castro plays percussion and Michael Rhodes plays bass on the track "I'll Love You More Than You'll Ever Know." Collectively, they have performed with hundreds of artists including The Beach Boys, David Bowie , Elton John , Stevie Wonder , Rod Stewart , Red Hot Chili Peppers, Kiss, and the CBS Orchestra on Late Night with David Letterman .

On April 2, Hart released her first U.S. album in a decade, Bang Bang Boom Boom, to stellar reviews. Bonamassa released his first live acoustic CD/DVD/Blu-ray, An Acoustic Evening At The Vienna Opera House, on March 26 to enthusiastic reviews. With Vienna, Bonamassa became the first artist to tally 10 No. 1s on Billboard's Blues Albums chart, passing B.B. King (nine) for the most No. 1s. Stevie Ray Vaughan and Double Trouble have seven, followed by Eric Clapton with six.

Seesaw Track Listing:
1. Them There Eyes 2:31
2. Close To My Fire 5:12
3. Nutbush City Limits 3:34
4. I Love You More Than You'll Ever Know 7:03
5. Can't Let Go 4:00
6. Miss Lady 4:54
7. If I Tell You I Love You 3:36
8. Rhymes 5:03
9. Sunday Kind Of Love 3:55
10. See Saw 3:25
11. Strange Fruit 5:45

http://www.hartandbonamassa.com/

STEVE TYRELL - IT'S MAGIC: THE SONGS OF SAMMY CAHN

Hitmaker and beloved crooner, Steve Tyrell is set to release a bewitching new album titled It’s Magic: The Songs of Sammy Cahn on May 14, 2013. The album pays tribute to the incredible work of Sammy Cahn whose songs are firmly embedded in the Great American Songbook and during the early 60s defined a generation, giving life to the Rat Pack’s repertoire (international release dates may vary).

The album coincides with Tyrell’s newly extended contract with Café Carlyle to continue his seasonal residency through 2014. Tyrell succeeded the legendary Bobby Short who played Café Carlyle for more than three decades before his passing in 2005.

Complemented with longtime collaborators, Tyrell explores 13 of his favorite Cahn songs, illustrating their everlasting vitality. The musicians include guitarist Bob Mann, pianists Alan Broadbent and Quinn Johnson, bassists Ed Howard and David Finck, drummers Kevin Winard and Jim Sapporito, and feature soloist David Mann on saxophone, and Lew Soloff on trumpet. The arrangements are provided by a legendary group that include Alan Broadbendt, Don Sebesky, John Oddo, and Bob Mann, and is produced by Steve Tyrell and Jon Allen

During the late 50s and early 60s there was a shift in the American lifestyle. Among the political and cultural shift was an underlying new sex appeal, “There was a period in American pop culture where the old-world thinking ran into the sexual revolution. That’s around 1958. Before that, everybody was ‘goody two-shoes,’ sleeping in twin beds on TV. Then all of sudden, there was the Rat Pack, Las Vegas, James Bond, and Playboy magazine. Things started getting sexy,” Tyrell explains.

The idea to record a Cahn songbook project first came to Tyrell last year, after he performed “It’s Crazy,” at the Birchmere in Alexandria, Va. (right outside of Washington, D.C.). It was one of the last tunes Cahn penned in collaboration with Tyrell’s friend Artie Butler, “It was a song that slipped through the cracks, Artie told me, so I thought it would be great to try a Sammy Cahn song that no one knew. We played it that night and everybody went crazy,” Tyrell remembers, “It was like finding a buried treasure.” Underscored with an after-hours blues feel, and graced with a sultry trumpet solo from Lew Soloff (Blood, Sweat & Tears), the song will undoubtedly be inducted into the big leagues of other Cahn classics.

Cahn was an excellent collaborator and one of his most famous partnerships was with Jimmy Van Heusen. Some of the other Cahn-Van Heusen covers featured on the album include such iconic material as “Ain’t That a Kick in the Head,” along with opener “Come Fly with Me,” a classic made famous by Frank Sinatra (who recorded 87 of Cahn’s songs), a dramatic reading of the amorous cautionary tale “The Tender Trap,” which was the soundtrack title song of the 1955 movie starring Sinatra and Debbie Reynolds; a stirring retooling of “All the Way,” another Sinatra-related classic, written for the 1957 drama, The Joker is Wild; the gorgeous, string-laden ballad “The Second Time Around; and the comely “Call Me Irresponsible,” an ambitious five-syllable word ballad that Cahn originally wrote for 1963 movie, Papa’s Delicate Condition, with hopes that the movie’s original star, Fred Astaire would sing it. Instead it sat on the shelf for seven years until the movie was finally made, starring Jackie Gleason, winning Cahn his final Oscar.

It’s Magic also toasts Cahn’s other main songwriting partner, Julie Styne, with the inclusion of the gentle makeover of the title-track, a song made famous by Doris Day; the torch-song classic “I Guess I’ll Hang My Tears Out the Dry,” written for the obscure 1944 stage production, Glad to See You; a titillating version of “It’s Been a Long, Long Time,” an anthem that celebrated the return of American soldiers from World War II; the snazzy “Saturday Night (Is the Loneliest Night of the Week), a tongue-in-cheek gem written from a hard-working musician’s perspective who’s reveling in spending Saturday night with a paramour; and the disc’s misty closer, “I Fall in Love Too Easily,” written for the 1945 comedy flick, Anchors Aweigh.

Gene De Paul, another Cahn collaborator, is represented on the disc with the sumptuous reading of “Teach Me Tonight,” another chestnut associated with Sinatra.

Even though Tyrell’s a five-decade veteran songwriter, producer and music supervisor, who has worked with an illustrious and diverse array of artists (Rod Stewart, Linda Ronstadt, Aaron Neville, James Ingram, Diana Ross Ray Charles, and more), he’s dedicated his solo recording career solely to the Great American Songbook, starting off with his 1999 recording debut, A New Standard (Atlantic Records) and was the first in a new wave of contemporary artists recording the standards. Of Tyrell’s previous 9 albums, 7 have made the top 5, and 1 the top 10 in Billboard’s Traditional Jazz Chart.

Tyrell is also a two time Emmy nominee, and has worked with some of the most iconic directors in film and television such as Nancy Meyers, Steven Spielberg, Tom Hanks, Steven Soderbergh, Charles Shyer, and Hugh Wilson.

NEW RELEASES - COULTRAIN, USA RECORDS SOUL STORY, BILLY PAUL

COULTRAIN - JUNGLE MUMBO JUMBO

The long-overdue return of Coultrain – an artist we've been digging right from the start, when he dropped off a pile of handmade CDs as freebies to give away in our store! Since that time, Coultrain has emerged to become one of the freshest talents of the underground – through work with the Platinum Pied Pipers and Hawthorn Headhunters, and work on other projects as well. But we've always loved the man himself out front of the spotlight – sharing his really unique vision of cosmic soul music – a sublime blend of inventive sounds, creative beats, and songwriting that will take you way way way past the usual! This album's been well worth the wait, and shows that our faith in Coultrain has certainly been well-placed – a beautiful set that features the tracks "A Gem Iza Jewel", "Gazelle's Dance", "Y Not", Deception", "Sassyphrass", "Wanted", and "Asherah Le Chameleon".  ~ Dusty Groove

USA RECORDS SOUL STORY - VARIOUS ARTISTS

Amazing work from one of Chicago's best indie labels of the 60s – a wealth of wonderful soul that easily ranks with some of the best work at Chess or Vee Jay at the time! USA's a label that's also known for work in the rock and blues field, but the company had a marvelous ear for soul back in the day – and was often able to grab key Windy City talents before they broke big – or others who were already great, but finally found the right sort of treatment they needed at USA – a care with production and presentation that often rivals some of the beautiful presentation that Curtis Mayfield was bringing to his Impressions recordings or work with other artists – lots of deep soul roots, but also the tightness and sophistication that made Chicago so great at the time. The package features 36 rock-solid tracks – and titles include "Hot Spring Water" by Billy The Kid Emerson, "Come On In" by Detroit Jr, "A Lonely Boy" by Lee Wilson, "Step It Up" by Al Perkins, "I'll Wait For You" by LC Cooke, "No Appreciation" by Tut Sutton, "Taunting Love" by Frankie Newsom, "Just Being Careful" by Baby Huey & The Baby Sitters, "What You Don't Know" by Oscar & Anita, "Sweet Little Woman" by McKinley Sandifer, and "You Gotta Pay Dues" by Chris Campbell. ~ Dusty Groove

BILLY PAUL - LATELY (BONUS TRACKS)

An excellent 80s set from one of the greatest voices in 70s soul – the sublime Billy Paul, sounding great here with a bit of electro groove in the rhythms! The album's approach is a bit different than Billy on Philly International – but the strength of Paul's presence is still very much in place – reshaped a bit like some of Marvin Gaye's later modes on Columbia Records – referenced possibly in the album's sweet slinky "Sexual Therapy" number. Titles include a wonderful remake of The Flamingos classic "I Only Have Eyes For You" – plus "On A Clear Day", "Let Me In", "Fire In Her Love", "Sexual Therapy", "Me & You", and "Hot Date". CD features a bonus single version of "Sexual Therapy".  ~ Dusty Groove

KIM FOWLEY - WILDFIRE: THE COMPLETE IMPERIAL RECORDINGS 1968-69

A trio of amazing albums – all of which really live up to the legend of Kim Fowley! First up is the well-titled Outrageous – one of the wildest albums ever from LA scenester Fowley – done in a very weird, very messed-up style that sort of sounds like The Stooges meet The Modern Lovers meet Alice Cooper! Fowley's fantastic on vocals – which are sort of of screeched and screamed, with revolutionary Riot On Sunset Strip-type lyrics, fused with a bit of Jim Morrison stoner spiritualism – a lot more compelling than you'd expect, and really mindblowing all the way through! The album's a perfect illustration of the genius that made Kim legendary, even when he wasn't having much of an impact on the mainstream – and titles include the incredible "Animal Man", plus "Hide & Seek", "Chinese Water Torture", "Bubble Gum", "Inner Space Discovery", and "Caught In The Middle".

Next is Born To Be Wild – mindblowing organ work from the mighty Kim Fowley – a rare instrumental set that has Kim carving out amazing sounds on the organ that really match is vocal force on other records of the time! The set's a bit more soulful than usual for Fowley – a record that almost pushes a soul instrumental sound more strongly than Kim's usual Sunset Strip sleaze – although there is a nice fuzzy undercurrent to the record at times too! The set burns like some lost Tower Records soundtrack – and titles include "Born To Be Wild", "Soul Limbo", "Space Odyssey", "I Can't Stop Dancing", "Savage In The Sun", "Fresno1963", and "Pictures of Matchstick Men".

Good Clean Fun is filled with awesome work from madman Kim Fowley – an album that offers hard rockers, some nice groovers, and even some trippier tracks that feature spoken or performed bits! The record's got a really wonderful approach that's a look at the lost genius of the LA scene of the late 60s – emphasized by an appearance on the record by Rodney Bingeheimer, the mayor of Sunset Strip, plus work by Motorcycle John and the Frog Prince! If you've ever heard about Fowley, but never found the record to truly convey his insanity on record, this is the one to check out – as it's as brilliant as it is insane! Titles include "Energy", "Baby Rocked Her Dolly", "Motorcycle", "One Man Band", "Good Clean Fun", "Search For A Teenage Woman", "I'm Not Young Anymore", "Lights The Blind & Lame Can See", and "Kangaroo". ~ Dusty Groove

NEW RELEASES - CAROLINE LACAZE, THE SIGN OF FOUR, DUPREE

CAROLINE LACAZE - EN ROUTE

 

Fantastic French funk – a record that's unlike any other deep funk combo we can think of – because Caroline Lacaze sings in her native language instead of English! The grooves are stepped in the best funky 45 styles of the late 60s, but the vocals also echo the more soulful sound of the French pop of the time as well – making the record a sweet hybrid that really stands out from the pack – and which will certainly help freshen up any collection of contemporary funk! Caroline's sung before on projects with the Mighty Mocambos, and she gets strong support from them on this debut set of her own – a stone smoker that include "Soultempo", "Je Reste", "Toujours Lui", "Laisse Tomber", "Ici", "Minutes D'Insouciance", and "En Route Madame". ~ Dusty Groove

 

THE SIGN OF FOUR - HAMMER, ANVILL & STIRRUP

 

A totally great little set from Sign Of Four – a project of Miles Newbold from the Natural Yogurt Band – served up with an approach to exotic jazz funk that's even trippier than his previous work! Miles plays a load of live instruments here – vibes, flute, guitar, percussion, and keyboards – all sifted and filtered together with some cool studio work to sound very vintage, and very offbeat – like some weird Eastern take on American soul jazz of the 60s, or like a garage band trying their best to sound like Sun Ra! The music is some of the best new work we've ever heard on the Jazzman label – and really feels a lot more like some lost exotic record from years back – with titles that include "Samba Moderno", "Morocco", "Topsy Turvy", "Mirage", "Morphine", "Fruit Juice For Everyone", and "Sun Suite Humulus Lupulus". (Totally great package – two 10" LPs, in a wraparound silkscreen sleeve!) ~ Dusty Groove

 

DUPREE - NUESTRO CAMINO

 

A heavy record with a heavy pedigree – a smoking set of funky instrumentals, all recorded directly to tape, then pressed directly on heavy colored wax! The trio has a hard-burning sound that takes us back to the Prestige records jazz funk sound of the early 70s – the sort of groove you might have heard from Leon Spencer or Melvin Sparks – with Mike Flanigin on sweet Hammond, Jake Langley on smoking guitar, and Kyle Thompson driving the whole thing with some mighty fierce drums! Titles are mostly originals – and include "The Turtle", "Malibu Classic", "KC", "Moto Guzzi", and "Leon's Thing". (Includes download card too!) ~ Dusty Groove

NEW RELEASES - MORE CONTEMPORARY MODERN SOUL GEMS, CROSSOVER TO SOUL, LAY BACK & CHILL

UNEXPLOITED & UNDERRATED: MORE CONTEMPORARY MODERN SOUL GEMS (VARIOUS ARTISTS)

 

Relatively recent soul tracks, but mostly with a classic feel – given that many of the tracks on the set were cut by artists who broke big in the 60s and 70s! The package is a really unique collection – titles from the past decade or two, recorded by older soul artists in a mode that mixes vintage styles with more contemporary production – yet all in ways that are light years from the mainstream R&B you'd hear on the charts! The set's great proof that a great voice never dies, and it also includes a few younger artists who definitely draw inspiration from the older crowd too – and many of the cuts are from the recent Motorcity recordings, showing a real UK love of classic Detroit styles. Titles include "Soul Searching" by Barbara Randolph, "Don't Wait Around" by The Elgins, "No Need To Explain" by GC Cameron, "Back In Circulation (metropolitan soul mix)" by Sweet James Epps, "Crying Shame" by Lynda Laurence, "Love Still Lives In My Heart" by The Originals, "Prime Time Lover" by Linda Griner, "Too Great A Price To Pay" by Bettye Lavette, "My World Will Never Be The Same" by Gina Foster, "Got To Win You Back" by The Contours, "I've Seen The Light" by JJ Barnes, and "Hurt The One You Love" by David Ruffin. ~ Dusty Groove

 

CROSSOVER TO SOUL: MORE CROSSOVER SOUL FROM THE 60S & 70S (VARIOUS ARTISTS)

 

Sublime soul all the way through – really tremendous little tracks that are just waiting to be discovered – and none of them the kind of mainstream grooves you might expect from the "crossover" in the title! Instead, these tracks have a power that really helps shift perception of a genre – almost a bridge between upbeat 60s Northern Soul and smoother 70s modern – with a warmth that's undeniable, and a groove that never lets up! The vocals are sublime, and the production is perfect – totally tight, but never slick at all – just perfect for the arrangements that really help these tunes soar! The set features a whopping two dozen tracks in all – and in addition to some real gems by lesser-knowns, there's also some great overlooked tracks by bigger names too – titles that include "I'm Not Ready" by Ujima, "The Common Broken Heart" by Lou Courtney, "Let's Try It Over Again" by Willie Hutch, "Midnight Sunshine" by The Soul Children, "It's Gonna Be Alright" by Maxine Brown, "One Step Ahead" by Aretha Franklin, "Fool's Hall Of Fame" by Ike Lovely, "Wait Till I Give The Signal" by The Shirelles, "Sweeping Your Dirt Under My Rug" by Ann Bailey, "Main Squeeze" by Syl Johnson, "Satisfactorise Your Mind" by Africano, "Trapped In A Love" by Barrino Brothers, and "I Gotta Keep My Bluff In" by Freddie Hughes. ~ Dusty Groove

 

LAY BACK & CHILL: MORE SUPERIOR SENSOUS SOUL (VARIOUS ARTISTS)

 

Here's some chillout music we can really get behind – mellow soul tracks with a beautifully gentle groove – all cut back in the days when an artist could relax a bit without ever losing their cool! The set's heavy on mellow modern soul numbers – all hand-picked by Expansion Records frontman Ralph Tee – who's shown us for decades that he's really got a golden ear when it comes to music like this! There's loads of great gentle steppers on the package, sung by some of the best voices of the mainstream soul scene at the end of the 70s – cuts that include "We Need Love" by Chapter 8, "Be My Girl" by Michael Henderson, "We Found Love" by The Dynamics, "Gonna Make Changes" by Phyllis Hyman, "No Love Nowhere Without You" by Linda Williams, "Ain't That Love Baby" by Lou Rawls, "Brother Brother" by Esther Phillips, "What Do You Want Me To Do" by Lou Courtney, "Stay" by Glenn Jones, "We Never Said Goodbye" by Dionne Warwick, and "Paintings Of Love" by Keni Burke. ~ Dusty Groove

MATT PARKER - WORLDS PUT TOGETHER

Matt Parker's debut recording, Worlds Put Together, provides a bracing introduction to the prodigious talents of the Brooklyn-based tenor saxophonist and composer. Scheduled for release on May 22 by Parker's BYNK label ("Because You Never Know"), the CD assembles a cast of musicians who are leaders in their own right and with whom the saxophonist enjoys deep history on the stage and in the studio.

Among his Worlds collaborators are pianist Jesse Elder, a co-leader with Parker of the Candy Shop Boys; alto saxophonist Julio Monterrey, a musical associate since teenage years with whom he co-leads the jazz band 2s and 4s; drummer Reggie Quinerly, on whose Music Inspired by Freedmantown the saxophonist played; guitarist Josh Mease, a longtime musical partner;and bassist Alan Hampton, who co-produced the CD with Parker. It's a group that navigates Parker's classic-cum-modern style exceptionally well.

"As a sideman, I'm used to playing what somebody else wants to hear," Parker told CD annotator Jay Ruttenberg. "This record was the first time I was forced to play how I wanted to sound. And I surprised myself. I thought I was going to play these songs as I would on my gigs, playing the melody with a nice, pure tone. Instead, I ended up screaming through my instrument. The emotion and playing on the album doesn't feel neat. I don't sound calm. I sound like I have an army of people chasing me, and I'm running for my life."

Starting, for instance, with the Hurricane Andrew-inspired "Eye of Rico" (as a native Floridian, Parker knows from hurricanes). Each of the songs is meant to evoke a scene from an imaginary movie -- one with equal parts action and atmosphere; and with the exception of the 10-minute-long "Full Sun," inspired by Benny Golson and Curtis Fuller, each clocks in at well under five minutes. "Like old 78s," says Parker.

Growing up in Fort Lauderdale, Matt Parker, 33, was exposed to little jazz. He started out on alto saxophone in the school band, but only because his first choices, drums and trumpet, were already taken. He developed his own system of playing and is very much self-directed.

At 14, Matt attended his first jazz concert, by Maynard Ferguson (in whose band Parker would later play), and was indelibly impressed by the trumpeter's lyrical playing. Soon thereafter Parker made his club debut playing with local saxophone legend Jimmy Cavallo, and started playing regularly on a scene presided over by Ira Sullivan, Dr. Lonnie Smith, Richie Cole, and Melton Mustafa. The players of Parker's generation who were making a name in the area included the Strickland twins, saxophonist Marcus and drummer E.J.

In 1999, Parker successfully auditioned at the New School, and he made the move to New York. He spent two years with Maynard Ferguson and his Big Bop Nouveau Band, performing more than 400 shows while touring in the U.S. and abroad. Matt can be heard on the band's M.F. Horn VI: Live at Ronnie Scott's.

The one standard on Worlds Put Together, Matt's striking, refracted take on "Darn That Dream," is included as a tribute to Ferguson. "Almost every day, Maynard would warm up with this song," he says. "I'd stand in the hallway and listen, enamored of it. I still hear him playing it."

Parker admits to always having had "a connection to the avant aspect of expression. My problem was when people said I sounded like I listened to [Roland] Kirk, or Wayne Shorter, I felt like what I had been doing was invalidated. The first time I heard Wayne, I was afraid people would think I was imitating him. I felt like I had to play differently, so I went back to Lester [Young] and Ben Webster and Dexter Gordon. It was a while before I felt confident enough to go back to being myself."

Matt Parker will appear at Cornelia Street Café, 29 Cornelia Street, Greenwich Village, on Wednesday, 5/22, 8:30 pm, in support of his new CD. His band is comprised of Julio Monterrey, alto saxophone; Jesse Elder, piano; Josh Mease, guitar; Alan Hampton, bass; and Reggie Quinerly, drums, with a special appearance by tap dancer Jimmy Sutherland, who's featured on the CD track "WPT."

www.mattparkermusic.com

NEW RELEASES - JOHN COLTRANE, THE GREYBOY ALLSTARS, KENNY WHEELER / NORMA WINSTONE / LONDON VOCAL PROJECT

JOHN COLTRANE - SUN SHIP: THE COMPLETE SESSION

A hugely expanded version of this legendary album – one that features loads of unreleased tracks that show the whole thing coming together in the studio! The set's filled with soaring work from the legendary John Coltrane Quartet – a session that was incredibly far-reaching for the time, and which originally was unissued until after the time of Coltrane's death! The record's got the group really pushing forward strongly – hitting a Love Supreme mode, but also showing even some of the sharper edges that John would explore with the group after this one – a beautiful swan song to the lineup of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. Things soar with a hell of a lot of spirituality, yet never get too overindulgent to lose their groove – and titles include "Amen", "Dearly Beloved", "Ascent", "Attaining", and "Sun Ship". CD features complete takes of some tracks that were cut off on the original LP release, plus other versions that show a strong development of the music! ~ Dusty Groove

THE GREYBOY ALLSTARS - INLAND EMPEROR

Damn great work from the Greyboy Allstars – a record that's deeper, hipper, and more rewarding than we ever remember from the group – a rich blend of jazz and funk, without any tricks or gimmicks at all! The playing of the members has really deepened a lot since the last album – and there's a soulful sensibility here that may finally rank them right up there with the 70s legends who inspired their sound – especially in the case of Karl Denson's work on sax and flute, and Robert Walter's keyboards! There's also some occasional vocals on the record, but often pressed down into the grooves, in this cool electric way – and which also still leaves most of the focus on the instrumentation. Surprisingly great – with titles that include "Profundo Grosso", "Old Crow", "Bomb Pop", "Inland Emperor", "Diminishing Blackness", "Trashtruck", "Better Get A Jump On It", and "Bitch Inside Me". ~ Dusty Groove

KENNY WHELLER / NORMA WINSTONE / LONDON VOCAL PROJECT - MIRRORS

A beautiful contemporary project from these two British jazz legends – one that definitely lives up to all their genius from earlier years – while finding a whole new level of expression! The album was done in collaboration with the London Vocal Project – a large group who are used here in a manner that's similar to some of the Donald Byrd "with voices" albums on Blue Note, or some of the Max Roach choral projects of the 60s. Winstone comes forth as the key soloist on some tracks – singing lyrics with this amazing quality that hasn't dimmed at all, with all the darkness we've always loved in her approach – and on other numbers the full chorus rises with the rhythms, propelling things forward alongside Wheeler's lines on flugelhorn – and the work of Mark Lockheart on saxes and Nikki Iles on piano. A stone classic, and a real surprise – with tracks that include "Black March", "The Hat", "The Broken Heart", "Breughel", and "The Lover Mourns".  ~ Dusty Groove

SHUGGIE OTIS - INSPIRATION INFORMATION / WINGS OF LOVE

A treasure trove of rare funk – a massive package that not only includes the legendary Inspiration Information album by Shuggie Otis, but which also adds in four bonus tracks to that classic – plus a full other album of unreleased vintage work! Shuggie Otis is the son of Johnny Otis – the LA R&B maestro who was moving heavily into funk at the end of the 60s – and he has this tripped out, super-dope guitar style that he played to strong effect on Johnny's albums of the late 60s and early 70s, and on his first two solo albums, which were kind of bluesy in tone. But for Inspiration Information, he shocked the world by moving into a stripped-down mode that pairs his guitar with spare drum machine rhythms, flanged-out deeply soulful vocals, and one of the most laidback conceptions of funk you'll ever hear. The album's a landmark – one of those gems that's unlike anything else you can think of, but which will redefine your concept of what you want in a record for years to come. Every track's a winner – and the whole thing's a perfectly unified batch of tunes that includes instant classics like "Inspiration Information", "Island Letter", "Aht Uh Mi Hed", "XL 30", and "Rainy Day" – plus unreleased bonus tracks "Miss Pretty", "Magic", "Things We Like To Do", and "Castle Top Jam".

Then – as if that's not enough – the set features incredible rare material from Shuggie – 14 more tracks as the Wings Of Love album, mostly recorded in the late 70s post-Inspiration years, plus a few tracks from later vintage too! The sound is great – the kind of extra bits we've been wanting to hear from Otis for many many years – finally unleashed from the vaults, and showing a style that really echoes the groove that others had copied from him – like The Brothers Johnson and some later contemporaries. There's plenty of great lost nuggets on Wings – and titles include "Trying To Get Close To You", "Give Me Something Good", "Wings Of Love", "Give Me A Chance", "Fireball Of Love", "Fawn", "If You'd Be Mine", "Black Belt Sheriff", and "Destination You". ~ Dusty Groove

ALEX PANGMAN - HAVE A LITTLE FUN

Are you having any fun? When Alex Pangman is singing, a resounding 'yes' is the only possible answer to that query posed by the Sammy Fain/Jack Yellen classic. With legendary guitarist Bucky Pizzarelli on board for Pangman's latest, the merriment comes all the easier.

Have a Little Fun (Justin Time) finds the young Toronto chanteuse doing just that on a baker's dozen of swing era standards and originals penned in the same vintage style. Along with Pizzarelli, a seven-decade veteran who's played with Les Paul, Benny Goodman, and Stephane Grappelli, Pangman is joined by her long-running band, The Alleycats.

Since her teens, Pangman has earned a devoted following in her native Canada, garnering three National Jazz Award nominations, twice as "Jazz Vocalist of the Year" and once for "Best Original Song," and she has performed three showcases at the renowned Festival International de Jazz de Montréal.

The carefree attitude expressed in that title has been earned in part through Pangman's lifelong struggle with lung disease, which culminated in a successful double lung transplant in 2008. "I was born with lung disease so I've always had that perspective," she says, "but it's been freshly reinvigorated. Life is precious, and if you sit around with your gut in a twist, it's really not worth it."

Have a Little Fun came together quickly, when Pangman learned that Pizzarelli would be performing in her hometown of Toronto. Despite a half-century's difference in their ages, the two quickly bonded over their shared love of 1930s song. "He's in his eighties and I'm in my thirties," Pangman says, "but we quickly became friends because we both love these melodies and these songs. That lineage is what binds us together. I was a little intimidated at first, but he's laid-back and always has a twinkle in his eye. He tells stories about his grandchildren, but then he can tell stories about Frank Sinatra."

That comfort and easy camaraderie resulted in seven songs recorded during a breezy three-hour studio session, a behind-the-scenes snapshot of which closes the album. The pair is joined by violinist Drew Jurecka, and devised arrangements on the fly. They chose standards like "I'm Confessin", "Out of Nowhere", and "Stardust", while Pizzarelli was also attracted to some of Pangman's original tunes. He plays on her noirish "Melancholy Lullaby," originally written for Torso, a film about infamous Canadian murderer Evelyn Dick, who achieved legendary status akin to Lizzy Borden in the States. The song earned her a "Best Original Song" nomination from the National Jazz Awards in 2001.

The remainder of the album features Pangman's band The Alleycats, which she's performed with in one form or another for more than a dozen years. The band, highlighted by Ross Wooldridge's tenor and clarinet, Laurie Bower's trombone, and Brigham Phillips' trumpet, captures the frantic essence of Fats Wallers' "The Panic Is On," the sultry exotic allure of "Shanghai Lil," and the lively swing of "Undecided."

The Alleycats also prove an ideal foil for Pangman's considerable compositional skills, with Bower's melancholy moaning on the mournful "Fog Song," and the raucous interplay of "Topsy Turvy," a novelty number about the dizzying effects of romance. They also made the unfaithful lover's lament "It Felt So Good To Be So Bad" so convincing that Pangman's husband wondered if he had cause for worry. ("Just One More Chance" follows as a tender apology.)

Born in 1976, Pangman is several generations removed from the musical era of Bing Crosby, and Louis Armstrong, but she never felt drawn to the sounds of her own time. "The music my friends were listening to when I was in high school was the antithesis of this music that I love so much now," she says. "You've got three minutes on one side of a 78 with no overdubbing, no auto-tune, just really good music and beautiful lyrics. I wasn't hearing that in the music I grew up with. I didn't want to hear Paula Abdul, so I started flipping around the dial."

She first discovered country music, which shares a penchant for melody and storytelling with the swing era songs she soon discovered. An avid equestrian, Pangman met her first mentor at the stables where she rode as a teenager. "As it turns out, he was a guitar player in a traditional jazz band and was very generous with lending me records and exposing me to this music that not a lot of other sixteen-year-olds were listening to. It was through his kindness that I was exposed to a landslide of wonderful, vibrant, alive music."

Pangman quickly became a passionate record collector herself, garnering an impressive collection of wax from the 1920s and '30s. Her gorgeous voice and deft song styling soon caught the ear of the late guitar great Jeff Healey, who produced Pangman's first two albums. It wasn't long before she was christened "Canada's Sweetheart of Swing," a title threatened when her cystic fibrosis began to compromise her ability to sing. A donor was fortuitously located, and she came back from her double lung transplant with her 2011 disc 33.

"In the months before the surgery, it was like I'd been singing through a straw," she recalls. "Then all of a sudden it was as if somebody handed me a bullhorn, like going from a tricycle to a Ferrari. Replace those lungs, and I could sing the lines and emote the way I was hearing it in my head and in my heart."

She has since become a tireless advocate for organ and tissue donation in Canada, recently writing the song "Breathe In" and donating the proceeds from its sale to the Ontario Lung Association.

Since the surgery, Pangman says, Have a Little Fun has taken hold as "my mantra in life. You can have a million smackers and a fancy car, but if you're not having any fun, what's the point? You're not here forever, so try to enjoy yourself."

Have a Little Fun Track Listing:
1. Some of These Days (Shelton Brooks / Paul Rardin)
2. Are You Having Any Fun (Sammy Fain / Jack Yellen)
3. The Fog Song (Alex Pangman)
4. The Panic Is On (Thomas Waller / Bert Clarke / George Clark / Winston Collins Tharp)
5. I'm Confessin' (Doc Daugherty / Al J. Neiburg / Ellis Reynolds)
6. It Felt So Good To Be So Bad (Alex Pangman)
7. Just One More Chance (Sam Coslow / Arthur Johnston)
8. Shanghai Lil (Al Dubin / Harry Warren)
9. Out of Nowhere (John W. Green / Edward Heyman)
10. Stardust (Hoagy Charmichael / Mitchell Parish)
11. Melancholy Lullaby (Alex Pangman)
12. Topsy Turvy (Alex Pangman)
13. Undecided (Sydney Robin / Charles Shavers)
14. Intro: Some of These days (Shelton Brooks / Paul Rardin)

Have a Little Fun will be released on June 11, 2013.
www.AlexPangman.com

NEW RELEASES - TRIO FATAL, GEOF BRADFIELD, SPINNERTY

TRIO FATAL - SPACEWAY MESSENGER

Nothing fatal about these guys – given the really life-affirming quality of the music on the set! The group features a compelling blend of reeds, trombone, and drums – often used in these really evocative ways that mix the rhythmic with the lyrical! The trombone does a great job of bridging the space between rhythm and melody – played here by Francois Lemonnier, who's got a really compelling touch on his instrument – sometimes swinging, sometimes a bit more sonic overall. Biggi Vinkeloe handles the flute and alto sax on the record, and drums are by Peeter Uuskyla – on titles that include "Singing Softly", "Nordic Waves", "Escargoiseau Blues", "The Wind Is Dancing Over The Hills", and "Space Way Messenger". ~ Dusty Groove

GEOF BRADFIELD - MELBA!

A beautiful tribute to the genius of trombonist/arranger Melba Liston – and a set that doesn't just copy her music, but really opens up a whole new spirit from its inspiration! Reedman Geof Bradfield composed all the tracks in the set, and puts things together with a spirit that's not unlike some of Melba's best arrangements for middle-sized groups – that way she had of making things tight, and rhythmically soulful – yet still allowing plenty of room for improvisation and individuality amidst the fuller picture of the tunes. Bradfield gets in plenty of great moments on tenor, soprano sax, and bass clarinet – and the rest of the group features Victor Garcia on trumpet and flugelhorn, Joel Adams on trombone, Jeff Parker on guitar, Ryan Cohan on piano, Clark Sommers on bass, and George Fludas on drums. Titles include "Central Avenue", "Dizzy Gillespie", "Detroit/Kingston", "Randy Weston", and "Homecoming" – and the set ends with vocals by Maggie Burrell on the tune "Let Me Not Lose My Dream". ~ Dusty Groove

SPINNERTY - GESTURES

Some of the sweetest work we've heard so far from Spinnerty – an EP that really just features three versions each of two tracks, but served up in ways that work together like a mini-suite of sound! "53 Pickup" has some great live drums – which really crackle alongside the beats and keyboards, and give the whole thing a great sort of energy – skittish in the main mix, spacier in a "lil Dave rmx", and then breaking like some old school funk record on the "drumapella"! "Noel's Dream" follows in a similar spirit – with great drum breaks next to the Fender Rhodes, giving things a funky feel as the keys spin out in space. There's also another funky "drumapella" version of that tune – and a more upbeat remix from J Boogie! ~ Dusty Groove

NEW RELEASES - FRANK ROSALY, ROB MAZURAK, STEPHANE BELMONDO

FRANK ROSALY - CICADA MUSIC

The Delmark debut as a leader from drummer Frank Rosaly – and a very unique little record! Rosaly's a player we've really dug on other folks' records, and his vision here at the helm is pretty darn great – a real change from some of the modes used by his avant Chicago contemporaries – almost more poetic at points, although filled with sharp edges throughout! The record was composed for use in a documentary about Chicago scrap recyclers working the alley of the city – and Rosaly brings a really human, personal sort of feel to his music – even though the overall approach is still based on improvisation between group members too. The lineup features James Falzone on clarinet, Jason Stein on bass clarinet, Jason Roebke on bass and cracklebox, Keefe Jackson on tenor and bass clarinet, and Jason Adasiewicz on vibes – which adds some particularly great tones to the metallic narrative. Rosaly also plays a bit of percussion, piano, and electronics – and titles include "Adrian", "Bedbugs", "Driven", "Yards", "Wet Feet Splashing", "The Dark", and "Tragically Positive". ~ Dusty Groove

ROB MAZURAK EXPLODING STAR ELECTRO ACOUSTIC ENSEMBLE - THE SPACE BETWEEN

One of the most electric albums we've heard from Rob Mazurek in years – no surprise, given that the set's billed to an Electro Acoustic version of his Exploding Star group! The music here was done in collaboration with videomaker Marianne Kim – whose video is included with the package as a separate DVD, and also features some work from visual work from Mazurek as well. But our main focus here is the music, which is great – all the earthy, exploratory tones that Rob's been unleashing in recent years – clearly inspired by some of the best Miles or Don Cherry moments of the 70s, but very different too – as handled by this range of key contemporary players from Chicago. Rob speaks a bit on a few tracks, and the set also features work from Damon Locks on voice and electronics, Nicole Mitchell on flute, Matt Bauder on electronics, Guilherme Granado on sampler, Carrie Biolo on percussion, Jeff Kowalkowski on keyboards, and John Herndon on drums. Titles include "We Are All One With The Moon & Planets", "Only", "The Shifting Sequence", "Indra's Net", and "Seven Blues". (DVD is NTSC coded, Region Free.) ~ Dusty Groove

STEPHANE BELMONDO - EVER AFTER

One of the coolest albums we've ever heard from trumpeter Stephane Belmondo – a mighty tribute to the great Donny Hathaway – based around a mix of Hathaway's famous tunes and Belmondo's original tracks – and featuring a bit of guest work on vocals from Gregory Porter and Sandra Nkake! The instrumentation is the main focus here, though – and in addition to some great solos and leads from Belmondo, the set also features Fender Rhodes from Jacky Terrasson, and acoustic piano from Kirk Lightsey – plus some strings that help flesh out the sound with that special majesty that Donny brought to his music! Titles include great remakes of "Flying Easy" and "Someday We'll All Be Free" – plus "Turn Around Go Deep", "For All We Know", "You Were Meant For Me", "Ever After", and "Thought Of Spirit". ©~ Dusty Groove

QUINCY JONES AND SIR MICHAEL CAINE CELEBRATE 80TH BIRTHDAY AT "POWER OF LOVE" GALA IN LAS VEGAS

Some of the biggest names in the entertainment industry celebrated the 80th birthday of Quincy Jones and Sir Michael Caine Saturday, April 13 at the 17th annual Keep Memory Alive Power of Love Gala at MGM Grand Garden Arena in Las Vegas. The star-studded event raised funds for Cleveland Clinic Lou Ruvo Center for Brain Health and its fight against neurodegenerative brain diseases such as Alzheimer’s, Huntington’s and Parkinson’s diseases, multiple sclerosis, ALS and memory disorders of all kinds.

Highlights from the night included heartfelt musical tributes from Chaka Khan and Stevie Wonder, hysterical stand-up comedy from Chris Tucker and nostalgic remarks about the guests of honor from Whoopi Goldberg. At the end of the evening, Wonder led a “Happy Birthday” serenade to Jones and Caine, followed by an awe-inspiring performance of “We are the World” by the entire celebrity lineup.

Performers and celebrity supporters who attended the event included music and film luminaries Amy Poehler, Arsenio Hall, Bebe Winans, Bono, Carlos Santana, Chaka Khan, Chris Tucker, Greg Phillinganes, Herbie Hancock, James Ingram, Jennifer Hudson, Jordin Sparks, Larry King, Marcus Miller, Nikki Yanofsky, Patti Austin, Paulinho Da Costa, Rashida Jones, Siedah Garrett, Snoop Dogg (aka Snoop Lion), Stevie Wonder, Tom Scott, Vinnie Colaiuta, Whoopi Goldberg, will.i.am and Will Smith.

Continuing with its 17-year history, the Power of Love Gala showcased a celebrity-chef-packed dinner prepared by award-winning chef Gordon Ramsay. Guests were treated to a Dom Pérignon reception and bid on one-of-a-kind live and silent auction items including an 11-day Mediterranean cruise and a football helmet signed by the 2013 NFL champions, the Baltimore Ravens.

In addition, donors from across the country were able to contribute to Keep Memory Alive’s cause for the first time through a text-to-donate campaign. Now through the end of the year, donors can text “MEMORY” to 80888 to give $10 to support brain health research at Cleveland Clinic.

The Power of Love Gala was produced by headlining sponsor Bill Edwards Presents Inc. in partnership with Las Vegas, official sponsors HARMAN and Playground Sessions, and Keep Memory Alive, the fundraising arm of the Cleveland Clinic Lou Ruvo Center for Brain Health. The birthday celebration for Jones and Caine honored a lifetime of achievement for the entertainment marvels and raised funds for clinical programs, caregiver support and testing of new treatment for neurodegenerative diseases like Alzheimer’s, Huntington’s, ALS, Multiple Sclerosis and Parkinson’s. For more information about Cleveland Clinic’s fight against brain disease, visit www.clevelandclinic.org/brainhealth.

JEFF BERLIN - LOW STANDARDS

Jeff Berlin has been called the greatest electric bass soloist in the world. While the terms “great” and “genius” are bantered about much too frequently, the accolades for Jeff Berlin are not hyperbolical – Jeff is indisputably one of the best bass players to ever play his chosen instrument. Geddy Lee (bass player for RUSH) calls Jeff “The greatest bass player on the planet,” while the late Jaco Pastorius considered Berlin a better soloist than he was. Known worldwide for his innovative style, Jeff has graced bandstands and recordings with legendary players like Bill Bruford, Dennis Chambers, Neil Peart, Billy Cobham, and Allan Holdsworth, and has led bands and recorded his own CDs for nearly 30 years. He has recorded for vocalists Patti Austin and KD Lang; he has traversed the progressive rock realm with former YES members Anderson, Bruford, Wakeman, Howe; Jeff famously turned down an offer to join rockers Van Halen. Jeff is also hailed outside the usual musician ranks: Actor Gary Sinise (also a bassist) is one of his biggest fans, and renowned boxing trainer and ESPN commentator Teddy Atlas refers to Jeff as “the best in the business.” From straight ahead Jazz to Fusion to Prog-Rock: Jeff plays it all, always at the very highest level of proficiency and musicality.

On his debut release on, Jeff and his incredible cohorts, Acoustic Bassist//Pianist Richard Drexler and Drummer Mike Clark, offer a sizzling set of Jazz standards. Drexler, one of the most versatile of jazz players, nimbly switches from upright bass to acoustic piano, or vice versa, on most tracks. Having performed for years with Berlin, his walking lines and supportive grooves perfectly blend with the leader’s electric voice. Clark’s percussion discussions are legendary: Initially making a mark on the international scene with Herbie Hancock’s funkified Headhunters, Mike is a jazz warrior at heart. Together, the trio present unique versions of strong material culled from the Jazz songbook.

Jeff comments about the inspiration behind Low Standards: “I wanted to play on a four stringed electric bass as a guitarist or pianist might play in the same situation. The concept of this CD was to leave me completely exposed as a player. On this recording, there was no way to hide from my present abilities as a bassist. Great players are always exposed in their abilities to play. For this reason, I always had Gary Burton or Keith Jarrett somewhere in my mind while I was recording the CD, wondering if they might play like I did if they played my instrument.”

Wayne Shorter, perhaps the most heralded of modern jazz composers, is well represented: Berlin and company burn on three of Shorter’s beguiling concoctions. “E.S.P.” kicks off the set, with Berlin stating the melody and Drexler’s bass lines walking in rhythm with Clark’s swinging ride cymbal. After Jeff amply illustrates his penchant for unmatched melodic improvisation, his electric instrument skips in tandem with Clark as Drexler moves to the ivories. On six of eight cuts, the trio represents as a quartet, thanks to Drexler’s multi-instrumental skills. Next up is “El Gaucho,” first heard on Shorter’s Adam's Apple album. To complete the Shorter trilogy, the trio speaks no evil as they soar through “Fee Fi Fo Fum.” Berlin is the giant here, ingeniously stating the melody before launching into an astute improvisation. Drexler sticks to the upright, soloing with thoughtful elegance. One of only two piano-less tracks of the set, this outing touches all the basses, exposing new facets of Wayne’s compositional gem.

Fellow electric bassist Steve Swallow’s “Falling Grace” is awash in harmonic beauty; as on every track, Jeff reinforces the accolades accorded him by legions of fellow musicians. His distinctive voice on the electric is organic – It belies those who disdain a bass that requires an outlet. Swallow’s longtime partner Carla Bley penned “Vashkar,” a tune probably more associated with drummer Tony Williams and his groundbreaking group Lifetime. Drexler opens, and stays, at the piano; Berlin strives for new lows; Clark’s hi-hat and snare interplay nods to Tony.

Pianist Bill Evans’ lilting “Very Early” awakes with a more extroverted treatment compared to the composer’s retrospective approach. Benny Golson’s “Whisper Not” swings with Jeff speaking first, Richard eschewing the piano while soloing with his own low tones while Mike tips lightly. The stellar session closes with Pat Metheny’s modern classic “James,” the guitarist’s homage to one Mr. Taylor. Richard Drexler’s stately pianistic introduction leads to Jeff Berlin effortlessly executing the gorgeous melody, as Mike Clark ably supports the proceedings. The album appropriately concludes with Jeff’s unique, sustained ringing tone.

Jeff explains his song selections for his new release: “Because I am such a huge fan of Keith Jarrett's 'Standards' CDs, I wanted to follow my last project, High Standards, with another standards recording, but this time playing on lesser-known tunes, lesser known to the general public... However, Jazz fans should know every tune that I chose to play. I chose compositions with lots of harmony so that I was forced to seek out non-typical bass lines. The harmony in these tunes demanded that I find something different to play on my bass. I also heard in my head how each composer played their own songs, often while we were recording. That was a strange experience.”

Low Standards is obviously an ironic title for an album that achieves such a pinnacle of musicality. Seldom, if ever, has the combination of two bass clef compadres created such a harmonious marriage of tone, verve and vigor. With this latest effort, Jeff Berlin proves, once again, that his is the highest standard of virtuosity in the low-end spectrum.

www.jeffberlinmusic.com

BILL WITHERS - ORIGINAL ALBUM CLASSICS: STILL BILL / MENAGERIE / WATCHING YOU WATCHING ME)

A sweet little package – with three classic albums from Bill Withers, each in a tiny LP-styled cover! Still Bill is Bill Withers' second album – even more wonderful than the first! The record's a perfect summation of all that made Bill so great – warm raspy vocals, sweet soulful production, mature songwriting, and just the right use of acoustic guitar to accent all the best elements in the music! Withers was already great before this record, but Still Bill really pushed him over the top – and made sure that generations to come would never tire of his genius. The arrangements are wonderful – with just the right sort of punch to hammer things home – yet still very far from commercial, and able to let all the acoustic elements of Bill's roots shine through. The record includes the massive "Lean On Me" – but we love it even more for the funky "Use Me", the slinky "Kissing My Love", the righteous "Who Is He (And What Is He To You)", and the always-great "Lonely Town Lonely Street".

Menagerie is one of Bill Withers' greatest albums of the 70s – a set that has hip stepping off the acoustic sound of his Sussex records, into a warm and jazzy style that we like every bit as much as his earlier work! The album's got a wonderfully sophisticated jazzy vibe, and includes the excellent cut "Lovely Day" – a perfect midtempo track with some great electric keyboards behind Bill's raspy soulful voice, and a great hook on the chorus! Paul Riser handled a lot of the arrangements – and other titles include "Wintertime", "It Ain't Because Of Me Baby", "I Want To Spend The Night", and "Then You Smile At Me".

Watching You is a sweet little 80s session from Bill Withers – a lot less acoustic than his soul of the 70s, but in a way that works surprisingly well! As always with Bill, the vocals are the main thing, and the passage of time has done nothing to take off his edge – that warmly raspy quality that's instantly recognizable, and which comes through with all of its original charm – even amidst the smoother, more electric approach of the album's backings. There's a number of tracks on here that hit a mellow, midtempo groove that works quite well – and Bill did most of the production himself, with help from collaborators who include Ralph MacDonald, Michel Colombier, and Denny Diante. Titles include "Watching You Watching Me", "Oh Yeah", "Something That Turns You On", "You Try To Find A Love", "We Could Be Sweet Lovers", and "Heart In Your Life". (CDs come in mini LP-style sleeves.) ~ Dusty Groove

NEW RELEASES - SUN RA, CHICO MANN, BOBBY HUTCHERSON

SUN RA & OTHERS - BLACK UTOPIA: REHEARSAL TAPES & LECTURES SELECTION FROM THE ALTON ABRAHAM / SUN RA AUDIO ARCHIVES (COLLECTORS EDITION)

A totally amazing treasure – a deep dig through the Sun Ra archives, featuring music from Ra, spoken bits, and more – all packaged with amazing presentation of the vinyl, and a huge booklet as well! The records feature way more than just the usual music on Ra projects like these – as they artistically mix together rehearsal moments with some spoken passages, and also some sound effects and other found bits too – almost an art collage in tribute to Sun Ra, but based around music by Ra himself! Highlights include some key rehearsal moments – including a John Gilmore solo, Ra on moog, and "The Second Stop Is Jupiter" performed with Art Jenkins and June Tyson. But the package also features Ra lecturing the Arkestra, talking on music – plus other spoken bits from Dick Gregory, Avery Young, and Krista Franklin. The vinyl is super-heavy, with different colors – and the jackets are heavy pressboard cardstock, hand-printed. The book is LP-sized, 32 pages, with interview materials, notes on the music, details on the project, and some images too. Tremendous stuff – and a must for any Sun Ra collector! (Special fan edition comes in a hand-printed portfolio, with a bonus DVD of Data! Numbered and limited to 40 copies!) ~ Dusty Groove

CHICO MANN -MAGICAL THINKING

Some of the tightest tracks we've ever heard from Chico Mann – and some of his most soulful too – a great set of work that really has him stepping past some of the rougher structures of earlier years, and showing a new love of 80s keys and beats as well! The album's got a skittish funky quality that's mighty nice – still with the messed-up edges we've always loved in Mann's funk, but with some tight guitar riffs and bumping basslines that push things forward more strongly than ever before! There's lots of nice vocals, too – some from female singers (including Kendra Morris), some from Chico himself – on cuts that include "Edge Of It", "Long Time Gone", "Magic Touch", "Esta Bueno", "Comes & Goes", "One Day Late", "Vengo A Ti", and "Oye Mira". ~ Dusty Groove

BOBBY HUTCHERSON - OBLIQUE

One of Bobby Hutcherson's greatest records ever – and a session that never got released at the time! The album's an excellent quartet session, one that's very much in the best spirit of Bobby's great Happenings album on Blue Note – and it features a similar group that includes Hutcherson on vibes, Herbie Hancock on piano, Albert Stinson on bass, and Joe Chambers, one of Hutcherson's best accompanists from the 60s, on drums. The format's a bit more modal than Happenings – and the set features 6 wonderful little tracks that mix together the "new thing" sound of earlier Hutcherson Blue Notes, with some of the nascent soulfulness that started creeping into his work at the end of the 60s. The album was recorded in 1967, but only first issued in Japan in at the end of the 70s – and then later in the US, and even then only briefly – but we'd still rank the set as one of Bobby's best for Blue Note! Titles include "Til Then", "Mr Joy", "Subtle Neptune", and "Theme From Blow Up". ~ Dusty Groove

PAUL ANKA - DUETS

The Second Disc Review: Paul Anka, “Duets”

Whether you prefer your “My Way” by Sinatra or Sid (Vicious, that is), you have Paul Anka to thank. It was Anka who took the melody to the chanson “Comme d’habitude” and crafted the ultimate anthem of survival and tenacity with his English-language lyrics. When Sinatra recorded the song, a gift to him from Anka, he was just 53 years of age yet could still ring true when singing of that “final curtain.” Today, Paul Anka is 71, and his new memoir is entitled, what else, My Way. Thankfully, the end seems far from near for the entertainer, who has kept busy not only with the book, but with an album from Legacy Recordings. Duets (88765 48489 2) is a blend of new and old tracks with one thing in common: the unmistakable voice of Paul Anka. (He also wrote or co-wrote all but two of its songs.)

The Ottawa-born pop star scored his first hit at the ripe old age of 15 with 1957’s “Diana.” It earned him a No. 1 in the U.S. Best Sellers in Stores and R&B charts, as well as No. 1 in the U.K., Canada and Australia. But overnight sensation Anka was a teen idol with a difference: he was a true singer/songwriter, writing both music and lyrics for his own songs. By the age of 20, Anka was reportedly raking in $1.5 million a year and selling some 20 million records, but he knew that he had to take himself to the next level. The singer poised himself for a reinvention for the adult market with more mature material aimed at the supper club crowd. Throughout his chart career, Anka has successfully balanced contemporary pop with timeless showbiz tradition.

To its credit, Duets isn’t a rehash of the formula enjoyed by so many superstars, from Frank Sinatra to Tony Bennett, of remaking “greatest hits” with familiar partners. There’s no “Puppy Love,” no “Times of Your Life” or “One Woman Man/One Man Woman.” Nor is Duets a career retrospective, per se, as the only vintage tracks are drawn from 1998’s A Body of Work. In many ways, Duets is an update of that Epic release. A Body of Work included seven duets among its eleven tracks, and four of those have been reprised on Duets. (That album also included a posthumous duet with Sinatra on “My Way.” Frank and the song are here, too, but in a newly-created recording.) None of Anka’s hit seventies duets with Odia Coates like “One Woman Man” or “You’re Having My Baby” are heard here. Though Jay-Z reportedly denied Anka’s invitation to participate, a number of top talents did show up to celebrate Anka’s 55 years in entertainment, including Dolly Parton, Leon Russell, Willie Nelson and Michael Bublé.

Anka is in strong voice throughout. Of the many styles in which he has made his mark over the years, from rock-and-roll to big band swing, Duets is squarely in a sleek, adult-contemporary vein, with prominent use of drum machine rhythms. A little Auto-Tune goes a long way, though, as proven by the catchy “Find My Way Back to Your Heart.” Written by Anka with producer-arranger Michael Thompson, it’s the only solo song here. (Background vocals are provided by Tita Hutchison.) Similarly slick is “Walk a Fine Line,” the Duets opener with George Benson and Michael McDonald. It’s one of two songs here from the 1983 album of the same name (unfortunately out-of-print as of this writing). McDonald co-wrote the song and sang on the original track, and repeats his duties for this new version.

The instantly recognizable McDonald is just one of the many talents here who are well-versed in the art of the duet. Dolly Parton joins the pretty “Do I Love You (Yes, In Every Way)” with hushed, whispered vocals that soon make way for a power ballad-style guitar and chorus. Arranger Johnny Mandel’s trademark strings swathe “Crazy,” with its writer Willie Nelson as relaxed and subtle as ever as he and Paul pine after the object of their affection. Another enjoyable match is made with Anka’s Canadian compère Michael Bublé. The great Patrick Williams’ brassy arrangement of “Pennies from Heaven” is a swinging highlight of Duets although it sonically clashes with the rest of the album’s more “modern” slant. (The young crooner’s solo “Pennies” was an iTunes-exclusive bonus track for his 2009 album Crazy Love.) Joining “Pennies” in lending Duets a classic air is “Les Filles de Paris,” first recorded by Anka in 1971. It gets a smoky, lush treatment thanks to Chris Botti’s horn and Mandel’s arrangement. Trumpeter Botti takes an expressive solo while a concertina-esque sound lends a Gallic atmosphere; Anka even sings a bit in French. “Think I’m in Love Again,” of 1981 vintage, is sung with Gloria Estefan. The song, co-written with country-and-western songwriter Bob McDill, is pleasantly delivered by and older and wiser singer this time around (“I think I’m in love again, wearing that silly grin/Look what a fool I’ve been, think I’m in love again”).

Much more surprising is “I Really Miss You,” sung with Leon Russell. The Master of Time and Space’s rough-hewn, growled vocals are the least expected match for Anka’s on the album, but he brings grit to the reflective, low-key track. But Russell’s isn’t the oddest duet here. That honor goes to “This is It,” the second posthumously released version of the song co-written by Anka and the late Michael Jackson. When “This is It” debuted in 2009 to coincide with a documentary about the recently-departed King of Pop, many seemed to overlook that the song boasted a rather felicitous melody. On Duets, Anka gives Jackson’s demo yet another makeover. The production by Anka and Michael Thompson is much busier than the Jackson solo version, which threatens to obscure just how pretty the tune actually is. Other than one particularly jarring key change that introduces Anka’s vocal, though, it’s a respectable treatment of the song. Anka’s full-throated vocal and the big, gospel-tinged production contrast with Jackson’s much gentler tone (in his familiar “soft” voice) but “This is It” remains an enjoyable slice of pure pop.

“Hold Me ‘Til the Morning Comes,” with an uncredited Peter Cetera, joins Celine Dion’s “It’s Hard to Say Goodbye,” Tom Jones’ “She’s a Lady” and Patti LaBelle’s “You Are My Destiny” as the four tracks carried over from A Body of Work. “You Are My Destiny” is the only song here from Anka’s pop idol years. It’s given a Latin flavor from producers David Foster and Humberto Gatica , who dominate the latter portion of Duets. It was a more successful update than “She’s a Lady.” Tom Jones’ brash 1971 single of Anka’s song has aged far better than the 1998 version. Anka’s final Top 40 hit, 1983’s “Hold Me ‘Til the Morning Comes,” also first appeared on the Walk a Fine Line album. It fares well in the 1998 treatment, though the original version (also sung with Cetera) would have made a fine addition to the Duets line-up. The 1998 version is nearly identical, but among the alterations made is the replacement of the “big eighties” power guitar with a nylon-style guitar part. (That classical/Spanish guitar sound is quite prevalent on Duets.) In any event, though, “Hold Me” as produced by Foster still sounds like a great lost Chicago song circa 1983!

“My Way,” naturally, closes Duets, as it did A Body of Work. For that album, it was arranged by Johnny Mandel as a tribute to Sinatra: “He did it his way,” and so on. In David Foster and Bebu Silvetti’s arrangement here, Anka, not Sinatra, opens the song, and Anka takes it in the first person. Surely, at 71, he’s earned it. Yet, duetting with a young(er) Sinatra, it’s far from the most organic track here. The Chairman’s vocals lack a natural sound on the duet, and Mandel’s stately, elegiac arrangement is superior to the more “MOR” version for 2013. Still, it’s an effective valedictory for Anka’s own, well-deserved celebratory album.

My Way, the book, promises to be a juicily entertaining memoir from a performer who’s never been afraid to speak his mind. If you’re looking for an ideal soundtrack for your reading, you might want to start with Duets and remember those times of your life as scored by Paul Anka.

Originally posted at the Second Disc here

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 Talking Loud label, and 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.

Fast forward to 2013, and Omar's reputation for being a thoroughly original artist following his own individual path remains undiminished. After recently picking up an M.B.E. for his outstanding contribution to the UK music scene, even the British Establishment has now acknowledged what many already appreciated and understood for many years.

There cannot have been many times a bass clarinet b-line was destined to become one of the most memorable and catchiest moments in contemporary soul, but on the new single, The Man, that's precisely what happens. Add to that a stunning vocal performance, the slinkiest of beautiful key changes, and an uplifting vibe that simply emanates class and style, and you will understand why those who were privileged to hear The Man early on, all without exception, flipped, slipped and fell totally in love with its soul, its groove and irrepressible spirit.

This release sees three reworkings of the title track; US mainstay of conscious hip hop and electronica, Shafiq Husayn, literally leapt at the chance to remix The Man and gives it a minor mood feel, with spacey synthesiser lines added to emphasise this most memorable of melodies, Maddslinky (aka Zed Bias), came with a remix from a pumping, contemporary club direction including a driving beat coupled with spacy breakdowns and his trademark production skills, and Scratch Professer puts his unique stamp on his retwist of The Man like no one else could!

Completing the circle that began all the way back in the early 1990s, Omar has completely 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 with the addition of soaring strings, soulful, jazzy horns, an all round live and acoustic feel, plus an extended and new arrangement, Omar has done the impossible; improved upon the un-improvable, that is likely to become the definitive version of an already much adored classic.