Friday, August 23, 2013
MATT WHITE - THE SUPER VILLIAN JAZZ BAND
The
brilliant young trumpeter, composer, and educator Matt Whitesteps out with a
lively and compelling debut titled The Super Villain Jazz Band, to be released
October 1 by Artists Recording Collective. A quintet/sextet effort recorded in
Nashville, the album is a postbop update that goes beyond the usual formulas
with its restless sense of invention in through-composed settings.
White's collaborators on the date -- tenor saxophonist Evan Cobb, alto saxophonist Don Aliquo, pianistJoe Davidian, bassist Jonathan Wires, and drummer Jim White (no relation) -- are strong, seasoned players on the Nashville scene. "They all have great intonation and articulation, they're great sight-readers, and they're comfortable in the studio," says the leader, who once taught at Nashville's Belmont University and is now on faculty at Coastal Carolina University in Conway, South Carolina (near Myrtle Beach).
The Super Villain Jazz Band attains a strong listener-friendliness through the application of two of White's most closely held principles. He always strives, he says, to balance sophisticated elements with at least one simple one, whether a fetching melody, a catchy bass vamp, or a deep groove. And he isn't afraid to play aggressively or risk a Woody Shaw-like brightness in his sound.
Matt WhiteWhite pays tribute to Shaw with the rhythmically tight "Like Woody," which was his very first composition, written while he was in college. It set an early high standard for White, taking top honors in the 2003 DownBeat Student Awards; it was featured on National Public Radio, and he performed the song in 2004 for Betty Carter's Jazz Ahead program.
"The Yankee Poured Out the Bacon Grease," which opens the CD program, features "differing solo sections and transitional interludes" and refers to a regrettable incident in which White mistakenly disposed of his Mississippi mother-in-law's cooking grease. The CD title track grew out of "a joke about club announcements, featuring Darth Vader on trumpet, Dr. Octopus on drums, etc.," says White. Britney Spears's "Toxic" is drastically reconstructed here, and Tom Waits's ballad "Alice" is given a lovely, relaxed reading.
Matt White, 32, is originally from Rockford, Illinois, but grew up in Tampa, Florida. Drawn to the strong, distinctive sounds of horn greats including Louis Armstrong, Al Hirt, and Maynard Ferguson, Matt started playing trumpet at age nine. In high school, he played in concert and marching bands and jazz combos, and attended the University of North Florida in Jacksonville for his undergrad work. Its director of jazz studies, Bunky Green, the Chicago saxophone legend who is equally revered as an educator, was a major draw: "Bunky always impressed upon us to listen to other people, on other instruments, and incorporate what you learned from them into your playing."
White went on to acquire his graduate degrees and teach at the University of Miami. His doctoral dissertation, "Visualization in Jazz Improvisation," examined the experiences of three trumpeters who, like him, see colors, shapes, or other visual elements while improvising or composing.During his three years in Nashville, White accompanied an extremely diverse array of artists including country star Brad Paisley, Venezuelan salsa great Oscar D'Leon, and pop diva Rihanna, as well as jazz luminaries including Wycliffe Gordon, Kevin Mahogany,Arturo Sandoval, and Bob Mintzer. He also taught and coordinated programs at the Nashville Jazz Workshop and played in classical and musical theater settings.
For the last two years, White has been involved as a preservationist recording the orally transferred spirituals of the Gullah people, descendants of early emancipated slaves, on St. Helena Island in South Carolina. He is working closely with an ethnomusicologist to document the experience of the elder soloists, a project now funded by Coastal Carolina University (where he is Professor of Trumpet and Director of Jazz Ensembles).
White has posted ongoing reports about the St. Helena Spiritual Project on his blog, http://svjb.tumblr.com.
A pre-release performance has been scheduled for 9/16, in Conway, SC, with Jeff Coffin, Michael Feinberg, Joe Davidian, and Dana Hawkins. The CD release concert will take place at the Nashville Jazz Workshop 10/6 with the album band.
"This album is culmination of all the diverse musical and life experiences that have matured into a unified statement, shared with some of my favorite people (in all their super-villainy)," says White. "Releasing it
White's collaborators on the date -- tenor saxophonist Evan Cobb, alto saxophonist Don Aliquo, pianistJoe Davidian, bassist Jonathan Wires, and drummer Jim White (no relation) -- are strong, seasoned players on the Nashville scene. "They all have great intonation and articulation, they're great sight-readers, and they're comfortable in the studio," says the leader, who once taught at Nashville's Belmont University and is now on faculty at Coastal Carolina University in Conway, South Carolina (near Myrtle Beach).
The Super Villain Jazz Band attains a strong listener-friendliness through the application of two of White's most closely held principles. He always strives, he says, to balance sophisticated elements with at least one simple one, whether a fetching melody, a catchy bass vamp, or a deep groove. And he isn't afraid to play aggressively or risk a Woody Shaw-like brightness in his sound.
Matt WhiteWhite pays tribute to Shaw with the rhythmically tight "Like Woody," which was his very first composition, written while he was in college. It set an early high standard for White, taking top honors in the 2003 DownBeat Student Awards; it was featured on National Public Radio, and he performed the song in 2004 for Betty Carter's Jazz Ahead program.
"The Yankee Poured Out the Bacon Grease," which opens the CD program, features "differing solo sections and transitional interludes" and refers to a regrettable incident in which White mistakenly disposed of his Mississippi mother-in-law's cooking grease. The CD title track grew out of "a joke about club announcements, featuring Darth Vader on trumpet, Dr. Octopus on drums, etc.," says White. Britney Spears's "Toxic" is drastically reconstructed here, and Tom Waits's ballad "Alice" is given a lovely, relaxed reading.
Matt White, 32, is originally from Rockford, Illinois, but grew up in Tampa, Florida. Drawn to the strong, distinctive sounds of horn greats including Louis Armstrong, Al Hirt, and Maynard Ferguson, Matt started playing trumpet at age nine. In high school, he played in concert and marching bands and jazz combos, and attended the University of North Florida in Jacksonville for his undergrad work. Its director of jazz studies, Bunky Green, the Chicago saxophone legend who is equally revered as an educator, was a major draw: "Bunky always impressed upon us to listen to other people, on other instruments, and incorporate what you learned from them into your playing."
White went on to acquire his graduate degrees and teach at the University of Miami. His doctoral dissertation, "Visualization in Jazz Improvisation," examined the experiences of three trumpeters who, like him, see colors, shapes, or other visual elements while improvising or composing.During his three years in Nashville, White accompanied an extremely diverse array of artists including country star Brad Paisley, Venezuelan salsa great Oscar D'Leon, and pop diva Rihanna, as well as jazz luminaries including Wycliffe Gordon, Kevin Mahogany,Arturo Sandoval, and Bob Mintzer. He also taught and coordinated programs at the Nashville Jazz Workshop and played in classical and musical theater settings.
For the last two years, White has been involved as a preservationist recording the orally transferred spirituals of the Gullah people, descendants of early emancipated slaves, on St. Helena Island in South Carolina. He is working closely with an ethnomusicologist to document the experience of the elder soloists, a project now funded by Coastal Carolina University (where he is Professor of Trumpet and Director of Jazz Ensembles).
White has posted ongoing reports about the St. Helena Spiritual Project on his blog, http://svjb.tumblr.com.
A pre-release performance has been scheduled for 9/16, in Conway, SC, with Jeff Coffin, Michael Feinberg, Joe Davidian, and Dana Hawkins. The CD release concert will take place at the Nashville Jazz Workshop 10/6 with the album band.
"This album is culmination of all the diverse musical and life experiences that have matured into a unified statement, shared with some of my favorite people (in all their super-villainy)," says White. "Releasing it
www.mattwhitejazz.com
NEW RELEASES - TORONZO CANNON, HOWARD ALDEN / ANDY BROWN QUARTET, DARROW FLETCHER
TORONZO CANNON - JOIN THE CONQUER ROOT
Fierce work from Toronzo Cannon – an artist who's
definitely determined to carve a path for the next generation of Chicago blues!
All the roots here are firmly in place, but there's a boldness and sense of
presence that really elevates Cannon's music – at a level that almost recalls
that great late 60s/early 70s point when vintage electric bluesmen were getting
cred in the mainstream – although Toronzo's approach here is definitely in the
rawer indie mode we love from Delmark! The core group features rhythm guitar,
Hammond, bass, and drums – and the set features guest trumpet, backing vocals,
and harmonica on a few tracks too. Titles include "Gentle Reminder", "Cold
World", "I've Been Doing Fine", "John The Conquer Root", "Sweet Sweet Sweet",
and "Big Ray Bop". ~ Dusty Groove
HOWARD ALDEN / ANDY BROWN QUARTET - HEAVY ARTILLERY
Double jazz guitars from these two contemporary players –
one recorded in the left channel, one in the right – for a very cool approach
that really expands past the usual sound of a trio set! The album's got bass and
drums in the group, too – but it's honestly the guitars that drive the whole
thing along – moving deftly next to each other, with a quality that's
beautifully resonant at times, and quite individual at others! When Alden and
Brown are in the same groove, the feel is like expanded stereo with a very wide
range – which makes a great surprise as they each turn their own directions and
wow us even more. Titles include "Voce E Eu", "Chuckles", "Three & One",
"Brigas Nuncas Mais", "Heavy Artillery", and "Louisiana". ~ Dusty Groove
DARROW FLETCHER - THE PAIN GETS A LITTLE DEEPT: THE COMPLETE EARLY YEARS 1965-1971
Righteous soul from late 60s Chicago – a killer collection
of early singles from the great Darrow Fletcher – only a youngster at the time,
but already working at a level that's as strong as most of his older
contemporaries! Darrow's got this soaring voice that really sends us every time
we hear him sing – a style that's possibly a bit like Jackie Wilson, but both
deeper and lighter at the same time – very unique, especially in these early
years – and perfect for helping Fletcher stand out from the pack! The grooves
here are nice and deep – socking hard in the best Chi-town styles of the time,
with the sort of punch you'd get on the best One-Der-Ful/Mar-V-Lus recordings –
with arrangements by Mike Terry, Phil Wright, Tom Tom, and others. Tracks were
originally issued on a variety of labels – Groovy, Jacklyn, Uni, Congress, and
Genna – and titles include "The Pain Gets A Little Deeper", "Now Is The Time For
Love (parts 1 & 2)", "What Have I Got Now", "What Is This", "Gotta Draw The
Line", "My Young Misery", "Infatuation", "When Love Calls", "My Judgement Day",
"Sitting There That Night", "Changing By The Minute", "What Good Am I Without
You", "We Can't Go On This Way", and "That Certain Little Something". ~ Dusty Groove
Thursday, August 22, 2013
NEW RELEASES - BRUSSELS JAZZ ORCHESTRA FEATURING JOE LOVANO, GAUDI, OLI SILK
BRUSSELS JAZZ ORCHESTRA FEATURING JOE LOVANO - WILD BEAUTY
Following its
triumphant partnership with pianist Kenny Werner (Institute of Higher Learning),
the award-winning Brussels Jazz Orchestra turns its attention to Joe Lovano,
long heralded a towering soloist among tenor saxophonists. Wild Beauty
illuminates the composer side of Lovano's musicianship, featuring a palette of
earthy tunes previously recorded with small groups, but now re-imagined for the
17-piece BJO. Gil Goldstein wrote the evocative arrangements. The album is a
summational work, filled with autobiographical abstractions. It draws its
inspiration from Lovano's generational bloodlines in Italy. "I've
dedicated this project to my mom, Josephine Verzi Lovano," he says. "
She was born and lived her life in Cleveland, but her heart and soul were with
her Sicilian roots and her family. All these tunes are reflections of my life
and experiences." Wild Beauty smolders with a warm glow, as if sculpted
from the fiery ash at the base of Mt Etna (Europe's largest active volcano and
the source of the album's penultimate track, "Miss Etna"). Lovano's
influences can be heard throughout - from Ben Webster to John Coltrane to
Enrico Caruso
GAUDI - IN BETWEEN TIMES
In Between Times is
the new album from the Worldwide dub specialist and it’s a great listen from
start to finish. It includes 12 engaging tracks with a satisfying balance
between vocal tracks and instrumentals that are brought artfully together to
form a sonic journey greater than the sum of its parts. The new album features
a noteworthy collection of artists, many of them pioneers in their respective
musical genres and all of them highly respected in their own right. Opening
track Put your guns down features vocals by Black Uhuru frontman Michael Rose.
Life, features rising reggae star Jahmai and the atmospheric and ethereal
electro-dub adventures of Tamino and the temple of dub, feature one of the
godfathers of psychedelic trance music Raja Ram (from electronic duo Shpongle)
on flute. One of the album's stand-out tracks, I start to pray is a truly
distinguished collaboration between legendary dub producer and vocalist Lee
Scratch Perry and UK electronic pioneers The Orb, with the inimitable Dennis
Dubmaster Bovell adding his characteristically uncompromising bass to the mix -
it's a high risk strategy to put so many virtuoso artists in one song but one
that pays off handsomely in the realization of this deep, elegant and very
dubby track! Other collaborators on the new record include, Hedflux (one of the
UK s hottest breaks producers), dub maestro Twilight Circus, Moroccan artist
Tahar (from the band Momo) & Gaudi s on-stage partner in rhyme, vocalist
and prodigiously talented beatboxer, Danny Ladwa. In Between Times more than
justifies Gaudi's reputation as a musical frontiersman and fearless music
producer (Billboard magazine) in it s complete disregard for musical boundaries
and stylistic separation... It is Gaudi style - the fusion of many genres into
one distinct and characteristic sound. ~ amazon.com
OLI SILK - RAZOR SHARK BRIT
Venturing across
the pond once again with this fourth and latest installment in his series of
solo records is fan fave, keyboardist/producer Oli Silk with 'Razor Sharp Brit'
a freewheeling engaging assemblage of sides full of spunk , vigor and
sophistication presented with his own unique European flair. While Silk's music is always easy
on the ear, it is the fact that he keeps things fresh, progressive and is not
afraid to dance around the edges that gives his music wide appeal and keeps it
from blending into the contemporary jazz landscape. 'Brit' stays with that
formula as the young man with the memorable name, dishes up a menu of memorable
tunes that will beckon you to not just merely nibble but to feast upon. Having established
himself as a first call player /producer in his motherland of England, sharing
the stage with virtually all of the smooth jazz luminaries and hopping the pond
over the last 5 yrs bringing his talents and sharp wit to the American audience
has serve Silk well in helping him establish an active and rabid fan base.
Razor Sharp Brit is sure to keep the movement afloat and momentum building as
he again serves up a feast of fresh and vibrant new flavors. Some of Silk's
closest CJ contemporaries join the fray, with bassist and label mate Julian
Vaughn featured on the lead radio single 'At Your Service' , spins musical webs
with guitarists Paul Brown and Chuck Loeb and brings up and coming sax man Elan
Trotman along for the ride. ~ amazon.com
LENNY KRAVITZ - ARE YOU GONNA GO MY WAY - REMASTERED AND EXPANDED DELUXE EDITION
Lenny Kravitz’s Are
You Gonna Go My Way album has been digitally remastered and expanded for a new
Deluxe Edition to be released on September 24th (September 23rd outside of
North America) by Virgin/UMe. The special 2CD and digital edition adds 20 bonus
tracks to the album’s original line-up, including 10 previously unreleased
recordings from Kravitz’s personal archive .
By 1993, Lenny
Kravitz had achieved global superstardom with his psychedelic brand of rock, by
way of his 1989 debut Let Love Rule and his groundbreaking 1991 follow-up, Mama
Said, which boasted no fewer than seven chart topping singles. Kravitz’s third
studio album, Are You Gonna Go My Way, was released in March 1993. The
collection’s explosive title track became a household hit, landing at No. 1 on
Billboard’s Mainstream Rock chart and propelling the album to massive success.
Among the new
Deluxe Edition’s previously unreleased recordings are six demos and outtakes
from the Are You Gonna Go My Way album sessions, as well as three early demos
Kravitz recorded for Vanessa Paradis’ self-titled 1992 album, which he produced.
“I May Not Be A Star (Light Piece For Vanessa)” has never been released in any
form, while “Travelogue” and “Lonely Rainbows” were finished and recorded by
Paradis for the album. A previously unreleased BBC Radio interview is also
included, and acoustic versions of “Believe,” “Sister,” and “Heaven Help” and
seven official B-sides are also featured, completing the commemorative reissue
of this epic album.
Lenny Kravitz: Are
You Gonna Go My Way (Deluxe Edition)
* = Previously
unreleased
DISC ONE: 1. Are
You Gonna Go My Way // 2. Believe // 3. Come On And Love Me // 4. Heaven Help
// 5. Just Be A Woman // 6. Is There Any Love In Your Heart // 7. Black Girl //
8. My Love // 9. Sugar // 10. Sister // 11. Eleutheria // Bonus Tracks (The
B-sides): 12. Spinning Around Over You // 13. Ascension // 14. All My Life // 15.
Brother // 16. Someone Like You // 17. For The First Time // 18. B-Side Blues
DISC TWO: The
Acoustic Versions: 1. Believe (Acoustic Version) // 2. Sister (Acoustic
Version) // 3. Heaven Help (Acoustic Version) // Work In Progress: Demos &
Outtakes: 4. Work Like The Devil* // 5.
Feeling Alright (Instrumental)* // 6. Getting Out (Will You Marry Me)* // 7.
Good Lovin'* // 8. Blood (Instrumental)/Papa (Long And Sad Goodbye)* // 9.
Early Morning Blues* // The Vanessa Paradis Demos: 10. I May Not Be A Star
(Light Piece For Vanessa)* // 11. Travelogue (Your Love Has Got A Handle On My
Mind)* // 12. Lonely Rainbows* // 13. BBC Interview with Mick Wilcox*
THE STEPKIDS - TROUBADOUR
The
Stepkids are a trio who combine their musical background in funk, psychedelia
and jazz with a serious pop pedigree. On Troubadour, the follow up to their
self-titled debut, the band brings together the best of both worlds, deploying
experimental influences and virtuoso instrumentation on the one hand, and
displaying a knack for great hooks on the other. There’s a kinship between The
Stepkids’ outsider take on pop and Hot Chip’s eclectic approach to dance music,
or the complex but catchy sound of Steely Dan.
Over the
last couple of decades the individual members of The Stepkids have honed their
skills touring with some of the biggest names in pop music, from Alicia Keys,
50 Cent and Lauryn Hill to Kimbra, Mayer Hawthorne and The Horrors. In 2009
they formed a band to the release their own music, and the result is a gleeful
blend of psychedelia, soul, classic jazz, R&B, funk, 70s rock and countless
other genres and styles. Now on their second album for Stones Throw,
Troubadour, they consolidate those influences with their experience as touring
musicians into a singular musical statement.
Troubadour
may be autobiographical in theme, but it also shows off The Stepkids’ musical
chops and their seemingly effortless ability to bridge genres and styles.
‘Moving Pictures’ flips a jazz standard into a soulful R&B-tinged song
propelled by a grooving bassline, ‘Symmetry’ is a minimal, yearning ballad lifted
by The Stepkids’ effortless harmonies, and ‘Sweet Salvation’ draws from psych
and funk while retaining a pop sensibility. The band also recently launched a
series of jazzy covers of songs from the likes of Rihanna, Justin Timberlake
and Daft Punk, all of which can be viewed at youtube.com/thestepkids.
Troubadour
follows the travels and travails of the fictional character of the title as he
grapples with love, life on the road, and the commercial requirements of the
music industry. “The troubadour character represents an extremity of who we
really are,” explains Edinberg. “Though honestly,” adds drummer Tim Walsh,
“It’s a character anyone can find themselves in.” Take the lead single, ‘The
Lottery’, which guitarist Jeff Gitelman describes as about “the gamble of
different sides of life: the gamble of love, the gamble of business, and the
general risk of following your heart.”
They may
be music veterans, but The Stepkids are just getting started. “I really believe
that we still haven’t discovered some of our most exciting stuff,” enthuses
Gitelman. “Everybody is so deep musically, there are whole sides of us we
haven’t really explored yet.”
THE JIMI HENDRIX EXPERIENCE - NEWLY EXPANDED EDITION OF "THE PURPLE BOX" RELEASED
A deluxe four CD boxed set, The Jimi Hendrix Experience is not a collection of previously existing recordings from Hendrix’s famous studio albums. The Jimi Hendrix Experience presents 60 previously unreleased or unavailable studio and concert recordings from a remarkable four-year period in musical history--1966-1970--when guitarist Jimi Hendrix was bringing pop and blues and jazz and soul and psychedelia together and changing the way everybody listened to everything.
First released in 2000, The Jimi Hendrix Experience box is sequenced in chronological order, beginning with the first known recordings of the Jimi Hendrix Experience in October 1966, and continuing through the recording of his groundbreaking studio albums as well as a variety of transcendent performances, and ending with the artist's final multi-track recording session at New York's Electric Lady Studios in August 1970.
The new edition of The Jimi Hendrix Experience--which includes all the alternate versions of classics like "Purple Haze," "Foxey Lady," “Bold As Love” and "Little Wing" and stunning, unheard Hendrix music such as "It's Too Bad" and "Country Blues" contained in the original 2000 box--offers fans additional new tracks either previously unreleased such as a commanding performance of Bob Dylan’s “Like A Rolling Stone” from Hendrix’s unforgettable October 1968 performances at Winterland in San Francisco. The original recording of “Peace In Mississippi” from the October 1968 sessions at TTG Studios, previously available only as the b-side of the 2010 “Valleys Of Neptune” single is a welcome addition to the collection as is a rare, recently discovered 1967 performance of “Burning Of The Midnight Lamp. The — original UK single mix of "The Stars That Play With Laughing Sam's Dice," now makes its US debut as part of this special collection.
The Jimi Hendrix Experience includes an 80 page color booklet filled with rare photos, essays and annotation by Dave Marsh and John McDermott, detailed track notes and more
NEW RELEASES - ANDREW NEU, KEEFE JACKSON'S LIKELY SO, JAZZ A LA MODE
ANDREW NEU - EVERYTHING HAPPENS FOR A REASON
Saxophonist Andrew Neu follows up his successful NuGroove
Records debut with his 4th contemporary jazz CD, “Everything Happens for a
Reason.” Along with producers Brian Bromberg and Steve Oliver, Andew has
assembled an all-star band, featuring Rick Braun, Bobby Caldwell, Jeff Lorber,
Tom Schuman and Alex Acuna. Embellished by a horn section and a full orchestra,
this project takes you on a musica journey around the world. Andrew co-wrote a
song with Bobby Caldwell and arranged a unique take on the jazz classic, "Take
Five". Inspired by the soul jazz and Latin music of the 1960s, it’s reminiscent
of Quincy Jones and Sergio Mendes. Tracks include: Everything Happens for a Reason; Poolside (featuring Steve
Oliver); Hit Me Up (featuring Jeff Lorber); Orchestral Prelude to
What Would I Do; What Would I Do (featuring Bobby Caldwell); Night
of the Mojito (featuring Rick Braun and Jeff Lorber); Take Five; Dreaming of Lions (featuring Steve Oliver and Brian Bromberg); Bring It
On (featuring Rick Braun); Vespa (featuring Ramon Stagnaro and Brian
Bromberg); Date Night (featuring Jeff Lorber); and What Would I do
(instrumental bonus track featuring Brian Bromberg). ~ andrewneu.com
KEEFE JACKSON'S LIKELY SO - A ROUND GOAL
Keefe Jackson's an artist who seems to change the name of
his group with each new recording – and for good reason too, given that every
album has a very unique, personal feel! This date's a live recording done at the
Jazzwerkstatt Festival – and it features Keefe working with a few key
saxophonists from the Chicago scene, in an expanded lineup that also makes way
for a rich array of European horns too – a brilliant array of reeds that carves
out some marvelous tones and colors throughout! The approach is like a doubling
(or tripling) of the sax quartet approach – really taking the concept to a whole
new level – using the horns for rhythm, melody, and more – but also allowing
plenty of solo space from this amazing lineup. Horns include tenor, alto,
soprano, sopranino, and baritone saxes – plus bass clarinet, e flat clarinet,
and alto clarinet as well – played by Keefe Jackson, Mars Williams, Waclaw
Zimpel, Dave Rempis, Marc Stucki, Peter Schmid, and Thomas Mejer. Titles include
"Overture", "Hierarch Follies", "Round Goal", "Roses", "Neither Spin Nor Weave",
and "My Time Is My Own" – plus "Bridge Solo" tracks by Jackson and Rempis. ~ Dusty Groove
JAZZ A LA MODE TRIO - LESS IS MORE
A sweet Italian combo, and one who's got a very classic
soul jazz sort of feel – a 60s-styled blend of Hammond and tenor that's mighty
nice, and very much in the spirit of the vintage look of the cover!
The combo features Fabio Nobile on drums – who you might know from previous work in a more contemporary style – plus Sam Gambarini on Hammond, Alessandro Scala on tenor, and some guest trumpet from Marco Tamburini. The record's
got a great no-nonsense feel – just the right production to fit the group's
soaring organ lines and hard-biting saxophone – spun out here over a host of
classics from 60s, plus a few tasty originals too. Titles include "Bus Ride", "Money In The Pocket",
"Fire Eater", "Funkallero", "Mambo In", "This I Dig Of You", and "Alligator
Boogaloo".~ Dusty Groove
Wednesday, August 21, 2013
NEW RELEASES - PEDRO ITURRALDE / PACO DE LUCIA, RICARDO SILVEIRA / ROBERTO TAUFIC. SILVETTI
PEDRO ITURRALDE / PACO DE LUCIA - JAZZ FLAMENCO VOLUMES 1 & 2
One of the greatest jazz experiments in 60s Spain – classic
material that features the group of saxophonist Pedro Iturralde working with
electric guitar played in a fluid flamenco style – mixed up here in a mode that
really creates a whole new genre unto itself! The guitarist here is billed as
Paco De Algeciras, but is actually a young Paco DeLucia – a player who really
gets the boldness of Iturralde's experiments, and is more than happy to step
aside at points and let Pedro deliver some of his best solo work on record –
really tremendous lines on both tenor and soprano sax that seem to go past any
of the other 60s albums we've heard from him! Yet the guitar is wonderful too –
often given a space to break out on its own, in a mode that's so personal and
poetic, it adds yet a whole other unexpected level to the record. Rhythms are
often modal, working perfectly for the setting – and the group also features
Paul Grassel on piano, Eric Peter on bass, and Peer Wyboris on drums – plus a
bit of trombone from Dino Piana on a few tracks too. CD features both Jazz
Flamenco and Jazz Flamenco Vol 2, released in '67 and '68: titles include
"Zorongo Gitano", "Cafe De Chintas", "Soleares", "Ianda Jaleoi", "Bulerias",
"Adios Granada", "Homenaje A Granados", and "Las Morillas De Jaen". ~ Dusty Groove
RICARDO SILVEIRA / ROBERTO TAUFIC - ATLANTICOS
Beautiful interplay between the guitars of Ricardo Silveira
and Roberto Taufic – a set that draws on countless strands of acoustic
instrumentation from decades past, yet finds a way to wrap the whole thing
together with a freshness that comes through right from the very first note!
Both players are clearly well-skilled from a technical perspective, yet have a
way of also reaching for color and tone in just the right way – creating this
resonant quality that's way more than just the sum of their two instruments.
Titles include "Depois De Chuva", "Moon River", "Her Eyes", "Cats", "Segredos",
and "Tinha Uma Dona Ali". ~ Dusty Groove
SILVETTI - SPRING RAIN
Silvetti (born Juan
Fernando Silvetti Adorno) was an Argentine pianist, composer, conductor,
arranger and record producer who predominantly worked in the jazz and Latin
music fields during a varied career lasting over 3 decades. As a teenager
Silvetti formed his own jazz quartet where he honed his skills before, at the
age of 21 in 1965, moving to Spain to work as a session musician at some of the
country’s most popular jazz clubs. In the early 70’s he moved in to composing
and arranging after a move back across the Atlantic to Mexico. After returning
to Spain in the mid 1970’s Silvetti started recording his contemporary
instrumental compositions, as arranger and conductor, and soon came to the
attention of the successful Salsoul record label that signed Silvetti in 1976
and released the single "Spring Rain.” This fully orchestrated, lush,
sensual instrumental Disco track was given the re-mix treatment by the
legendary Tom Moulton which helped the track fill dance floors across the world
with its accessible Euro-Disco sound and achieve a peak of #4 Disco, #77
R&B and #39 Pop on the Billboard charts in March of 1977. "The Sensuous Sound Of Silvetti: Spring
Rain” to give this album its full title, was released in 1977 to follow the
success of the single and showcases the experience Silvetti had gained through
his career and travels to stunning effect. These smooth grooves, rich in
orchestration, show Silvetti was clearly on top of his game, with standout
tracks like "A Smile At Dawn” and "Fortune Teller” being the perfect
accompaniment to the summer months ahead. Silvetti went on to record many more
albums as artist, musician and producer working with musicians from Placido
Domingo to Paul Anka and the cream of the Latin music world. In 2003 he won the
Grammy for best Latin music producer only months before he passed away at the
age of 59. This new release from BBR is expertly re-mastered and complete with
extensive liner notes and bonus track. ~ cherryred.co.uk
CERRONE UNDERWORLD: THE ANTHOLOGY, FIRST CAREER-SPANNING COLLECTION CONTAINS 31 TRACKS
As a producer of European Disco music, the influence of the legendary Jean-Marc Cerrone is on a par with Giorgio Moroder. UK label BBR has assembled the first ever complete career 2CD Anthology on the French King of Disco. Cerrone’s list of accolades are endless, beginning as a drummer in the late 1960s, Cerrone would go on to sell over 30 million albums, produce over 20 albums, win multiple Grammy Awards, a Golden Globe for "Best Producer of The Year”, 3 gold medals from the French Authors Society while his music has been sampled and remixed by countless artists, not to mention the hundreds of thousands of fans he has played to in a decades-spanning, internationally successful career.
Having produced and performed on a plethora of notable tracks since the late 60’s, Cerrone has become one of the most successful musicians of our time carving out a place in musical history with his edgy and forward thinking production. From the moment a box of 12” vinyl singles containing Love In C Minor that he pressed with his own money accidentally made its way across the Atlantic to New York and subsequently lit dance floors on fire, his international incredible musical journey was set in motion.
In this expanded 2 CD deluxe Anthology containing 31 tracks, BBR tells a portion of that tale and compiles some of Cerrone’s best-known and revered works, all the way from his earliest recordings with The Kongas and work with Don Ray and through his vast world of solo productions. The deluxe 2-CD package includes extensive liner notes featuring interviews and photos.
DISC ONE
1. JUNGLE - The Kongas
2. ANIKANA-O - The Kongas
3. PASTEL - The Kongas
4. LOVE IN 'C' MINOR
5. MIDNITE LADY
6. CERRONE'S PARADISE
7. TAKE ME
8. SUPERNATURE
9. GIVE ME LOVE
10. AFRICANISM/GIMME SOME LOVIN’ - The Kongas
11. DR. DOO-DAH - The Kongas
12. THE HOUSE OF THE RISING SUN - Révélacion
13. GOT TO HAVE LOVING – Don Ray
14. STANDING IN THE RAIN – Don Ray
DISC TWO
1. JE SUIS MUSIC
2. ROCKET IN THE POCKET
3. LOOK FOR LOVE
4. SIMPLIFY – DON RAY
5. ROCK ME
6. ANGELINA
7. CALL ME TONIGHT
8. PANIC
9. YOU ARE THE ONE
10. HOOKED ON YOU
11. TRIPPIN’ ON THE MOON
12. BACK TRACK
13. GET YOU LOVIN’
14. YOUR LOVE SURVIVED
15. CLUB UNDERWORLD
16. HYSTERIA
17. GOOD TIMES I’M IN LOVE
NEW RELEASES - JACKIE GLEASON PRESENTS, HENRY MANCINI, PAUL MAURIAT
JACKIE GLEASON PRESENTS - OPIATE D'AMOUR / REBOUND
Here’s a pair of late 50s gems from Jackie Gleason – back to back on a single CD! Opiate D'Amour definitely has the drug promised in the title – thanks to some lush arrangements from the legendary Jackie Gleason! But the set's also got some other charms, too – thanks to solo instrumental passages by some surprisingly great guests – including Al Caiola on guitar, Lawrence Brown on trombone, Bernie Leighton on piano, and Romeo Penque – who plays the "oboe d'amore"! The album's definitely got Gleason at the top of his game – working well within the specific concepts Capitol allowed him for the record – on titles that include "The Girl", "It's All Right With Me", "Pink Lace", "Casa D'Amor", "Caress", and "Pale Blues". Rebound features beautiful music for the blue at heart – and the kind of record that really helps get us through a late night after a big breakup! Jackie Gleason is at his moody best here – with orchestrations that are full, but nicely restrained – and some great solo inflections from Bernie Leighton on piano, and reedman Romeo Penque – who plays a special instrument here named the "oboe d'amour"! Titles include "Do Nothin' Till You Hear From Me", "Satin Doll", "Ain't Misbehavin'", "Nevertheless", "Long Before I Knew You", "I'm Making Believe", "Without Love", "Close Your Eyes", "You Stepped Out Of A Dream", "More Than You Know", and "I Just Couldn't Take It Baby". ~ Dusty Groove.
HENRY MANCINI - THE MANCINI GENERATION / HANGIN' OUT WITH HENRY MANCINI
Overlooked genius from Henry Mancini – and two albums back to back as a single set! The Mancini Generation is one of the first great electric moments for Henry Mancini in the 70s – and a record that's got a way groovier sound than you might expect from the title! Things are still very much in the best soundtrack Mancini mode – and pretty jazzy, too – but there's also a bit of Arp on the record, played by Hank himself – which makes for some mighty cool electronic touches! The rest of the lineup is pretty wonderful too – and features key work from west coast jazz soloists – including Clare Fischer on organ, Jerome Richardson on flute and soprano sax, and Jimmy Rowles on Fender Rhodes – all of whom sound great alongside the Arp. Titles include "The Mancini Generation", "Memphis Underground", "Killer Joe", "A Blusih Bag", "Charade", and "The Masterpiece". Hangin Out is very cool work from Henry Mancini – and one of the key 70s albums to feature the maestro himself playing an Arp! The added electric presence of the instrument really brings a lot to the usual Mancini charts here – creating some cool spacey and soulful moments you wouldn't expect, and some of those surprising Mancini funky bits that show up on records from the time! The set features a great medley of Barry White's "Love Theme" and MFSB's "TSOP"; classic soundtrack material like "The Thief Who Came to Dinner", "Theme From White Dawn", and the great "Theme From The Girl From Petrovka" (which was sampled by Pete Rock) – plus the tracks "The Sex Symbol", "Hangin' Out", "Song For Anna", "The Stripper", "Dolce" and "The Entertainer". ~ Dusty Groove
PAUL MAURIAT - UN JOUR UN ENFANT / JE T'AIME...MOI NON PLUS
Late 60s magic from Paul Mauriat – a pair of records from a time when he was really riding high on the instrumental charts! Un Jour Un Enfant is filled with groovy 60s touches – that special bounce that Mauriat could bring to his rhythms, mixed with orchestrations that are full but never overblown, and served up with some especially nice moments on a keyboard that seems to be an electric harpsichord. Some numbers are upbeat and groovy – and titles include "Love Child", "I'm Gonna Make You Love Me", "Abraham Martin & John", "My Girl", and "Catherine". Je T'Aime Moi Non Plus is worth it alone for the title track – a sweet instrumental cover of the Serge Gainsbourg/Jane Birkin hit, done with some groovy touches that nicely differ from the original! Other tunes follow in Mauriat's best late 60s modes – these nicely streamlined pop instrumental passages that have lean orchestrations, groovy undercurrents, and some especially nice standout guitar and piano bits! Titles include "Je T'Aime Moi Non Plus", "Alors Je Chante", "Let The Sunshine In", "De Musique En Musique", and "Que Je T'Aime". CD also features a bonus single mix of "Je T'Aime Moi Non Plus". ~ Dusty Groove
NEW RELEASES - RUSSELL SLEDGE CONTINUUM, SERGIO MENDES. JEFF WISELY
RUSSELL SLEDGE CONTINUUM - IT'S BEEN A LONG TIME COMING
Russell Sledge Continuum’s It’s Been A Long Time Coming takes you back to the Blue Note era of the 50's and 60's with their debut recording. This set offers plenty of Hard Bop, and it features William Knowles, piano and Sebastian Whittaker, drums. It's Been A Long Time Coming is the culmination of a musical journey lasting several years. This debut recording by the Russell Sledge Continuum aims to pay homage to the players and the style of Jazz that flourished in the 50's and 60's. Containing mostly original material from Russell Sledge, with one from pianist William Knowles, the remainder of the CD is rounded out with music from bassists Paul Chambers and Oscar Pettiford and the legendary John Coltrane. If Swing, Be Bop, and Hard Bop are to your liking, then this CD should have no problem fitting in nicely with your current collection. Tracks include: Whims Of Chambers, Basingstoke 2, Spirit Led, Triotism, DC Drive, Hide And Seek, Oxen Hills Road, and Lazy Bird.
SERGIO MENDES - RENDEZ-VOUS
New from Bossa-Nova and Jazzmaster Sergio Mendes is a Japanes only release (2013) that includes 10 songs that are sung by different Asian vocalists (nine from Japan and one from Hong Kong). Celebrating over 50 years in the music business, Sergio Mendes shows no signs of slowing down. Tracks include: Ummer Champion featuring Gille; Ultima Batacada featuring Yoshie Nakano (Ego-Wrappin’); Tasogare No Begin featuring Sumire; Ue Wo Muitre Aruko (Sukuyaki) featuring Beni; Manha De Carnaval featuring Miyuki; Shimbalaie featuring Julia Oki; Hoshni No Love Letter featuring Minmi; O Amor E Pra Se Amar featuring Rimi Natsukawa; Killing Me Softly With His Song featuring Karen Mok; and Real In Rio (Favo De Mel) featuring Marcia.
JEFF WISELY - BEYOND BOUNTRIES
Jeff Wisely's new album - Beyond Bountries - offers a fresh new concept to familiar songs like "In a Sentimental Mood" and Mo' Better Blues." Jeff, along with producers Mike Harrison and Mike Allen, has released this latest CD that stretches creativity and musical talent. Beyond Boundaries features classic standards of jazz, pop, swing, and gospel that's sure to become an instant favorite. Tracks include: Mo' Better Blues; The Nearness of You; Blue Moon; Child is Born; You Are So Beautiful; Fields Of Gold; In A Sentimental Mood; Have I Told You Lately That I Love You; Leaning On the Everlasting Arms; and America The Beautiful.
THE WEE TRIO LIVE AT THE BISTRO
The Wee Trio, James Westfall (vibes), Dan Loomis (bass) + Jared Schonig (drums), have announced the September 17, 2013 release of their fourth recording, Live at The Bistro, recorded live to sold-out crowds at the award-winning venue, Jazz at the Bistro in St. Louis' Grand Center Arts District, on February 8 & 9, 2013.
Live at The Bistro is the ultimate blueprint of what The Wee Trio has been doing since their inception in Brooklyn in 2008. With three critically-acclaimed studio albums to their credit (Capitol Diner Vol. 1, and Capitol Diner Vol. 2 Animal Style and Ashes To Ashes - A David Bowie Intraspective), and numerous requests from fans, the group felt it was the perfect time to take the next exciting step in the evolution of the band, a live album. With this album, the band has captured the otherworldly experience of hearing a singular, chameleon-like trio that can maneuver like a hummingbird, and in the next moment, thunder like a pack of Harleys. Drummer Jared Schonig elaborates, "prior to the shows at The Bistro we had been touring a lot, and a lot of our original recorded material had morphed into something new and something even greater. We felt that our ears were in incredible shape and the band was sounding better than ever. It definitely was the perfect time to record a live album, especially considering that the experience of hearing The Wee Trio live has always been the zenith of our existence. We had two nights coming up at Jazz At The Bistro, and we knew it would turn out to be the perfect place to record Live at The Bistro. The energy is magnificent, and it's simply one of our favorite clubs in the world."
Jazz at The Bistro also has a deep personal meaning for the rest of the Trio as well; "I am personally from St. Louis and grew up playing there. The Bistro is a world-class jazz club and it always brought some of the best jazz musicians around for weeklong engagements. Hearing the great voices in jazz there week after week formed my conception of jazz. It's The Wee Trio's second home!" (bassist Dan Loomis); "Being invited to perform there was a fulfillment of a jazz dream. While I was a student a The University of New Orleans, two of my favorite CDs were both live records from the Bistro, and one of those was coincidentally recorded by one of my teachers - Peter Martin: "Something Unexpected" was the name of the record, and it was in my CD player non-stop. The other disc was Benny Green/Russell Malone - "Jazz At The Bistro". These records were very influential in my formative years. Hopefully our Live at The Bistro recording can have the same influence and provide the same musical inspiration as these particular recordings have done for me," (vibraphonist James Westfall).
While The Wee Trio counts many jazz aficionados among their fanbase, new fans to the music and the band often find themselves experiencing a revelation. Bassist Dan Loomis explains, "we play every show like it's our last, and we have so much fun PLAYING (in the musical and jovial sense) with each other. People are always coming up to us after shows and saying things like, 'I don't usually like jazz but I loved THAT!'. We feel that you don't have to be a jazz fan to love hearing the interaction and witnessing the joy happening onstage. So this record is really about us wanting to 'bottle' the live experience of The Wee Trio and share it with our fans."
The Wee Trio routinely flies from genre to genre, sometimes even within a single tune. They have forged all of their disparate influences into a unified, distinct entity. On Live at The Bistro we find the gents returning to their roots a bit and swinging as if their lives depended upon it! "Until now the band has never really revealed our love of Jazz with a capital J, so to speak. That is, we all grew up listening to, loving and playing swing. It has informed everything we do and we have always played it live, but it has never been featured so prominently into the band's sound on record," said Loomis. Live at The Bistro is therefore the most musically complete Wee Trio recording to date. From classic standards like "Cherokee" and "There Is No Greater Love", to free playing, to rock, funk, and much more, this recording features the full musical spectrum of the band, comprised of compositions from each of their previous three recordings, and brand-new originals, "Sabotage" (Schonig), "White Trash Blues" & "New Earth" (Westfall) and "Ranthem" (Loomis).
"As The Wee Trio, we challenge ourselves to never play a song the same way twice. In every live performance we stretch to find something new in that moment, and this act of reaching is a riveting experience for us as well as our listeners. We have been wanting to make a live record and capture this experience for a long time. Recording this album over the course of a weekend at The Jazz Bistro was a real dream. St. Louis has been a favorite destination of ours since our inception, and this engagement marked our third time back at this club. The great feeling of this place and the incredible crowd helped us find more than a few of those magic moments we strive for, and we hope you hear what we felt, too." - The Wee Trio
With the release of Live at The Bistro, The Wee Trio offers audiences a portrait of the band in full flight, and a glimpse of the auspicious future that is in store for this modernistic trio. Available September 17 on Bionic Records.
The "Live at the Bistro" Tour:
Sep 18, Boston, The Beehive, 8 PM-12 AM
Sep 19, Detroit, Cliff Bells, 9 PM (one set), James Cornish will open, $10 cover
Sep 20, Chicago, The Green Mill, 8 PM-12 AM (three sets), $12
Sep 21, Chicago, The Green Mill, 9 PM-1 AM (three sets), $12
Sep 23, St. Louis, The Principia Upper School, Clinic & Performance
Sep 24, St. Louis, Jefferson College, Clinic & Performance
Sep 25, St. Louis, Chaminade High School
Sep 27, Toronto, Humber College, Clinic & Concert, 4:30 PM
Sep 28, Kitchener, The Jazz Room, 8:30-11:30 PM, $12
Sep 29, Toronto, The Rex, 9:30 PM, $8
Sep 30, New York, Subculture, 7:30-9:30 PM, $12, opener TBD
Dec 4, San Francisco, Yoshis, 8 PM (one set), $18
www.theweetrio.com
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