NEW RELEASES - SARAH SILVERMAN, ANNA GIVENS, JASON BODLOVICH

SARAH SILVERMAN - SARAH

Inspired and mentored by two great contemporary jazz performers, singer Luciana Souza and pianist Bruce Barth, Sarah has emerged as an exciting new jazz vocalist. Drawn to intimate performances, Sarah often sings duo with Bruce, and their inspired collaborations naturally developed into the recording of  "Sarah'. The album marks a dramatic shift away from her background as a classical pianist, but it is also a natural evolution for a performer drawn to different musical styles, improvisation and the spirit of distinctive collaboration. Songs include: Take Love Easy; I'm Glad There Is You; Samba Em Preludio; Two Sleepy People; Waiting On The Weather; Once I Loved; Love Me Or Leave Me; Arietta; and Medley: Smoke Gets In Your Eyes/I Get Along Without You Very Well. ~ cduniverse

ANNA GIVENS - MIXED NUTS

Recorded on July 8, 2009 (7-8-9) at Galena St. Studios, Sandusky, Ohio. Anna and Johnny had met a few weeks earlier when Anna sat in on the last song in Johnny's set at Murphy's Place in Toledo. It was a moment for them both. Anna asked Johnny if he'd record with her; he said 'Yes'; and drove down from Detroit for the session. His car broke down just outside of Sandusky and so Anna had to go rescue him. They got acquainted nicely while sitting in the sun for a couple of hours waiting for the tow truck to show up. Got pretty loose. When they got in the studio, Anna just started naming tunes - a little of this, a little of that. An assortment of diverse and yet somehow complementary pieces... some salty, some sweet, like a box of mixed nuts. Johnny O'Neal is one of the world's best known jazz pianists. He played the part of Art Tatum in the movie 'Ray'. He's played all over the globe for the last thirty years with people like Art Blakey, Sarah Vaughn, Anita O'Day, B. B. King, and the list goes on. On this album, Anna and Johnny play together as if they'd known each other all their lives. No rehearsals, one or two takes and this is the mind blowing result. ~ cduiverse

JASON BODLOVICH - PENNGROVE SKYLINE

Recorded at Prarie Sun Studios in Sonoma County, "Penngrove Skyline ~ Solo" features North Bay Area guitarist Jason Bodlovich in a solo finger-style acoustic guitar setting. A Taylor Guitar artist, Jason plays his Taylor NS-72 nylon stringed guitar throughout the album. The album was named after the small country town of Penngrove in Northern California which inspired many of the compositions. Bodlovich pays homage to his first solo guitar influence Joe Pass in the swinging number "Mr. Pass" and master of suspense film director Alfred Hitchcock in the Argentinian flavored tango "Hitchcock". "Penngrove Skyline ~ Solo" takes the listener on a sonic journey packed with exciting peaks and serene valleys.All compositions are written by Bodlovich and feature eclectic styles of Jazz, Brazilian, Swing, Blues, Flamenco and Tango. ~ cduniverse

SCULLERS JAZZ CLUB PRESENTS TERENCE BLANCHARD, YELLOWJACKETS, OLETA ADAMS, PHIL PERRY, EUGE GROOVE AND OTHERS...

Scullers Jazz Club in Boston has announced their upcoming Sumemr and Fall lineups:

Terence Blanchard: Blanchard is an American jazz trumpeter, bandleader, composer, arranger, and film score composer. Since he emerged on the scene in 1980 with the Lionel Hampton Orchestra and then shortly thereafter with Art Blakey and the Jazz Messengers, Blanchard has been a leading artist in jazz. He was an integral figure in the 1980s jazz resurgence, having recorded several award-winning albums and having performed with the jazz elite. http://www.terenceblanchard.com (Friday, August 2).

Tuck & Patti: Tuck & Patti have quietly changed the world. Through whispered ballads as well as playful swing, through a style that tempers simplicity with brisk flashes of virtuosity, Tuck Andress & Patti Cathcart have cast this magic for years to fans around the world. (Friday-Saturday, August 9-10).

Yellowjackets: Yellowjackets is an American jazz fusion/smooth jazz quartet. They are currently celebrating 30 years as one of the premiere jazz groups of our time with the release of Timeline on March 15. William Kennedy is back in the drum chair after a 10-year hiatus, and Felix Pastorius has joined Yellowjackets in the bass chair. (Friday-Saturday, August 16-17)

Oleta Adams: Adams is a spiritually uplifting soul/R&B vocalist who seamlessly blends jazz, gospel and pop influences into a union of its own. With seven CDs and an upcoming release, Let's Stay Here, Oleta has received worldwide acclaim and sold over two-and a-half million albums. Oleta's musical odyssey still continues both spiritually and creatively. For this consummate artist- composer-producer-musician, many goals remain on the horizon. (Friday-Saturday August 23-24).

Phil Perry: Phil Perry is an American R&B singer, songwriter, musician and a former member of the soul group The Montclairs from 1971 to 1975. (Friday August 30)

Euge Groove & Brian Simpson: The House of Groove, Euge Groove's newest album is now available. Smooth jazz saxophonist Euge Groove and celebrated keyboardist, composer and studio musician, Brian Simpson. (Thursday September 5).

Walter Beasley: Over the past two decades, saxophonist Walter Beasley has artfully and dynamically redefined the phrase "musical Renaissance Man" for the modern generation. http://walterbeasley.com/ (Friday/Saturday September 20-21).

Gary Burton 70th Birthday Tour with Julian Lage, Antonio Sanchez, Scott Colley: June 2011 saw the release of Common Ground, Gary's first release on Mack Avenue Records featuring the New Gary Burton Quartet. The new group reunites with guitar star Julian Lage, and the new additions of drummer Antonio Sanchez and bassist Scott Colley. Hot House (2012) won Gary his 7th Grammy Award in the Best Improvised Solo category. http://www.garyburton.com/ (Friday-Saturday September 27-28).

Steve Tyrell: Grammy Award winner Steve Tyrell reinvented and re-popularized classic pop standards for a modern-day audience. With the grit and soul of a lifetime of experiences, producing hits for Grammy-winning Artists ranging from Linda Ronstadt and Aaron Neville, to Rod Stewart and Diana Ross, Steve himself has sold hundreds of thousands of albums and gained a passionate following all over the world. (Friday-Saturday-Sunday October 4-5-6).

Take 6: Take 6 is an American acappella gospel music sextet formed in 1980 on the campus of Oakwood College in Huntsville, Alabama. The group sings in a contemporary style, integrating R&B and jazz influences into their devotional songs and has ten Grammy wins, ten Dove Awards, one Soul Train Award and two NAACP Image Award nominations. They've won Grammy Awards in 1988, 1989, 1990, 1991, 1994, 1997, and 2002. (Sunday, October 13).

Charo: The spotlight on Charo has been shining brighter than ever since her acceptance of the Female Pop Album of the Year Award. She received this accolade at the Billboard International Latin Music Conference for her flamenco inspired platinum album, Guitar Passion. (Friday-Saturday, October 25-26).

NEW RELEASES - CONJUNTO IMPACTO, PAOLO RECCHIA, LUIGI MARTINALE TRIO FEATURING REUBEN ROGERS

CONJUNTO IMPACTO - EL REGRESO

Miami's own Conjunto Impacto has delivered a great new set – working here in a classic style that really shows their roots! The album's no-nonsense salsa right from the start – great rhythms at the core of each tune, some soaring work on trumpets and trombone to really give the cuts a jazzy sparkle, and lyrics sung with plenty of soul – including a few numbers by a younger female vocalist who joins the group! The whole thing's a salsa dura gem from the underground – issued by the band on their own label, and with the feel of some rare indie set from the 70s. Titles include "Me Marcho", "Hoy Por Hoy", "Bala Perdida", "Negra Dura", "Para Cali Querida", and "Sorpresas De Amor".  ~ Dusty Groove

PAOLO RECCHIA - THREE FOR GETZ

From Paolo Recchia comes a wonderful blend of alto sax, guitar, and bass – served up at a level that reminds us of some of the Lee Konitz/Billy Bauer collaborations of the 50s – but with a sound that's a bit more soulful overall! Paolo Recchia handles the alto, and Enrico Bracco the guitar – and the only other instrumentation on the record is the bass of Nicola Borrelli – used to give the tunes a slight buoyant feel, and underscore the rhythmic playing of both musicians. The Stan Getz reference in the title is very well-placed – as Recchia's alto lines have that great sense of flow that Stan hit in the 60s – particularly the blend of lyricism and soul we love so much during his Sweet Rain period. Titles include "Grandfather's Waltz", "O Grande Amor", "Voyage", "The Peacocks", "First Song", and "Three Little Words".  ~ Dusty Groove

LUIGI MARTINALE TRIO FEATURING REUBEN ROGERS - STRANGE DAYS

This one's a great one from the trio of pianist Luigi Martinale – an Italian player who's got a really wonderful sound! Martinale can be lyrical and poetic one minute, yet also hit a groove the next – a very sort of old school approach to the keys that comes across here in a fresh way, thanks to the trio's rhythms from bassist Reuben Rogers and drummer Paolo Franciscone! Both players never get in the way of the piano – and certainly let Luigi take the lead – yet they're always shaping the tunes in subtle ways, especially with Rogers' bass – so that there's a depth of tone and sense of soul that graces even the gentler moments on the record. Titles include "Strange Days", "Christmas Eve", "Opus A Pop One", "The Electric Blue Flight Case", and "Passagio Ad EST".  ~ Dusty Groove

THE CONCORD REMASTER SERIES FEATURING DUKE ELLINGTON, DIZZY GILLESPIE, JOE PASS, RAY BROWN, OSCAR PETERSON, ZOOT SIMS, ART TATUM & OTHERS...

Concord Records is set to release five new titles to commemorate the 40 year anniversary of Pablo Records. The story of Pablo records is a story of one veteran producer’s return to the music he loved best. Norman Granz, founder of Jazz at the Philharmonic, so missed the recording aspect of the music business — which he’d abandoned in 1962 when he sold his Clef, Norgran, and Verve labels to MGM — that a little more than a decade later he decided to take the plunge and start up yet another label. Based in Beverly Hills, California, at the time, Granz secured a distribution deal and launched Pablo Records in 1973, quickly building a world-class catalog of albums by legendary artists Ella Fitzgerald, Joe Pass, and Oscar Peterson — all of whom Granz managed — as well as Count Basie, John Coltrane, Duke Ellington, Dizzy Gillespie, Art Tatum, Sarah Vaughan, and many others. After releasing more than 350 albums in a span of less than 15 years, Granz sold Pablo to Fantasy in 1987, which in turn merged with Concord Records in 2004 to form Concord Music Group.

The five new titles are:

Duke Ellington & His Orchestra: The Ellington Suites

The three Ellington Suites in this release were recorded at different times along Ellington’s legendary and prolific arc: The Queen’s Suite in February and April 1959 (written for and dedicated to Queen Elizabeth II, but not widely released until 1970); the Goutelas Suite in April 1971; and the Uwis Suite in October 1972.

“Ellington would record his orchestra at his own expense, and then stockpile the recordings,” says Nick Phillips, Vice President, Catalog and Jazz A&R at Concord and producer of the Original Jazz Classics Remasters series. “These were recordings that were later sold to Norman Granz, who had the good sense in the ’70s to collect these then-unreleased suites on one album.”

Nearly 40 years after its first release, “this latest edition of The Ellington Suites adds a studio discovery: the never-before-released ‘The Kiss’ is a track recorded in 1972 at the same session that yielded the Uwis Suite,” says Ashley Kahn, author of the new liner notes for the reissue. “[It] is included herein as a reminder of how — all the way to the end of his timeline — Ellington was at work at new creations, ever intrepid and ever expansive. Today The Ellington Suites, music he produced to his specifications and at his expense, are as powerful a statement as any to the remarkable consistency that colored the entire, storied career.”

Dizzy Gillespie, Joe Pass, Ray Brown, Mickey Roker: Dizzy’s Big 4

Recorded in September 1974, Dizzy’s Big 4 provides a snapshot of the bebop pioneer still in superb form at age 57. “Joined by a rhythm section of fellow Pablo all-stars, Diz is heard at his bebopping best in a compelling mix of Gillespie classics (‘Be Bop’ and ‘Birks’ Works’), a then-new Gillespie composition (‘Frelimo’), and standards (‘September Song’ and ‘Jitterbug Waltz’),” says Phillips. “The sheer joy of four like-minded musicians spurring each other to new musical heights is palpable throughout this Pablo classic.”

Willard Jenkins, author of the new liner notes for the reissue, concurs. “Befitting a Pablo session, the four musicians comprising Dizzy Gillespie’s Big 4 have an obvious simpatico with each other’s artistry,” he says. “Despite the fact that this is an all-star assemblage, the parts are beautifully matched and throughout the session a keen sense of camaraderie prevails.”

The reissue includes two bonus tracks, previously unreleased alternate takes of “Russian Lullaby” and “Jitterbug Waltz” — both of which are significantly different versions of the same songs that appeared in the original release. “When you’re talking about master jazz improvisers like Dizzy Gillespie, Joe Pass, Ray Brown, and Mickey Roker, every single take of any given song is going to be fresh and different,” says Phillips. “These alternate takes are no exception.”

Oscar Peterson & Stephane Grappelli: Skol

Recorded live at Tivoli Concert Hall in Copenhagen, Denmark, on July 6, 1979, Skol features the six tracks from the album’s original LP release, plus three previously unreleased bonus tracks from the same performance: “Honeysuckle Rose,” “Solitude,” and “I Got Rhythm.”
“The title of the album, Skol, is of course a Scandinavian toast: ‘Cheers!’” says Tad Hershorn, archivist at the Institute of Jazz Studies at Rutgers University and author of the new liner notes for the reissue. “It exactly suits the spirit of this sparkling music reintroduced here in observation of Pablo’s fortieth anniversary.”

Hershorn adds: “Oscar Peterson was just over the halfway point of a career beginning in the mid-1940s up until just shortly before the time of his death in 2007 at age 82 . . . Stephane Grappelli catapulted to fame in the 1930s as part of the original Quintette du Hot Club de France led by legendary guitarist Django Reinhardt.” But the two co-leaders are just the beginning of this story, says Phillips. “Add Joe Pass, Niels-Henning Ørsted Pedersen, and Mickey Roker, the end result is an impressive array of talent on a single album.”

Zoot Sims: Zoot Sims and the Gershwin Brothers

Recorded in June 1975, Zoot Sims and the Gershwin Brothers is a set of ten well-known Gershwin classics executed by Sims on saxophone, backed by Oscar Peterson on piano, George Mraz on bass, Joe Pass on guitar, and Grady Tate on drums. “It’s arguably the best album Zoot Sims ever made,” says Phillips, “not just on Pablo but in his entire career. It’s that good. He sounds absolutely amazing on this album.”

In addition to the ten tracks from the original release, the reissue includes three bonus tracks: “They Can’t Take That Away From Me” and previously unreleased alternate takes of “Oh, Lady, Be Good!” and “I’ve Got a Crush on You.”

“Zoot brought to the formal business of studio recording the same unflagging spirit of swing that motivated him in casual settings like the Paris boîte and the Mississippi steamer,” says Doug Ramsey, author of the new liner notes to the reissue. “For this music by the Gershwins, he had at his disposal a dream rhythm section of four peers who shared his dedication to the propositions that jazz must swing and must pursue the ideal of beauty.”

Ramsey adds: “Let your ears be your guide and let Zoot, Oscar, Joe, George, and Grady guide your ears. It is good that this music has new life and is again available as an essential installment of the Zoot Sims legacy.”

Art Tatum: The Art Tatum Solo Masterpieces, Vol. 1

The Art Tatum Solo Masterpieces, Vol. 1 got under way with an evening session in December 1953 where Tatum walked into the studios of Radio Recorders in Hollywood with a portable radio. He sat down at the piano bench, opened the first of many bottles of Pabst Blue Ribbon (provided by Granz), listened to about a half hour of UCLA basketball and said, “Let’s go.”

“From there, the music poured forth to produce 69 masters over two days, nearly all on first takes with no playbacks,” says Herschorn in his new liner notes to the reissue. “It was an auspicious beginning for a peak moment in the histories of Granz and Tatum. Picking up again in April 1954 and concluding in January 1955, the series came in at over 125 songs . . . The endurance of the Tatum recordings, celebrated with this reissue of Volume 1 in recognition of the fortieth anniversary of Pablo Records, proves that the highest ambitions of both men continue to be revered in the 60 years since Tatum, a man of few words and a daredevil on the keyboard, first uttered, ‘Let’s go.’”

ROBERT GLASPER EXPERIMENT TO RELEASE BLACK RADIO 2 ON OCTOBER 29

Robert Glasper has revealed the details on his next release - Black Radio 2.On Black Radio 2, the emphasis is on songwriting with 11 of the 12 tracks new originals, from the soaring lead track "I Stand Alone" featuring rapper Common and vocalist Patrick Stump of Fall Out Boy through Jill Scott’s sensual ode to connection “Calls” to the reinvention fantasy “Somebody Else” featuring BRIT Award winner Emeli Sandé. The lone cover is the album closer, a spine-tingling version of Stevie Wonder’s “Jesus Children of America” by vocalist Lalah Hathaway that also features a poignant spoken word tribute to the 20 young victims of the Sandy Hook Elementary School shooting by poet Malcolm-Jamal Warner. The album was produced by Glasper along with executive producers Nicole Hegeman and Eli Wolf.

Other artists to appear on the album include the Experiment, featuring Robert Glasper on keyboards, Derrick Hodge on bass, Mark Colenburg on drums, and Casey Benjamin on vocoder and saxophone. Providing the vocals throughout are vocalists including Common, Patrick Stump, Brandy, Jill Scott, Dwele, Marsha Ambrosius, Anthony Hamilton, Faith Evans, Norah Jones, Snoop Dogg, Lupe Fiasco, Emeli Sandé, Lalah Hathaway, and Malcolm-Jamal Warner.

On their 2012 breakout Black Radio, Robert Glasper Experiment laid out a new paradigm for creative music, reaching beyond entrenched genre boundaries to create a singular vision that drew from all reaches of contemporary black music and beyond. Black Radio drew unanimous praise from critics across the board and earned Glasper the highest chart positions of his career when the album debuted at #10 on Billboard's Top Current Albums chart, also claiming the #1 spot on both the Billboard Jazz chart and the iTunes R&B chart. The album kept earning accolades all the way to the 2013 GRAMMY Awards where Black Radio was awarded Best R&B Album.

Black Radio 2 will be released on October 29 on the Blue Note label. Check out the complete tracklisting:
1. Baby Tonight (Black Radio Intro)
2. I Stand Alone featuring Common and Patrick Stump
3. What Are We Doing featuring Brandy
4. Calls featuring Jill Scott
5. No Worries featuring Dwele
6. Trust featuring Marsha Ambrosius
7. Yet To Find featuring Anthony Hamilton
8. You Own Me featuring Faith Evans
9. Let It Ride featuring Norah Jones
10. Persevere featuring Snoop Dogg and  Lupe Fiasco
11. Somebody Else featuring Emeli Sandé
12. Jesus Children of America featuring Lalah Hathaway and Malcolm-Jamal Warner

NEW RELEASES - KEIKO MATSUI, GIL-SCOTT HERON, ALEX PUDDU

KEIKO MATSUI - SOUL QUEST

Keiko Matsui’s new recording Soul Quest, is a riveting new collection of songs that unfold like an epic journey. With an all-star cast that includes such heavyweights as producer and drummer Narada Michael Walden, guitarist Chuck Loeb, saxophonist Kirk Whalum and bassist Marcus Miller, among others, Keiko explores themes of love, loss, spirituality and environmental consciousness.oul Quest finds Keiko Matsui doing several firsts, including recording with Chart-topping producers Chuck Loeb and Narada Michael Walden. She recorded with Loeb at his home studio outside of New York. The guitarist produced five of the album’s tracks and together with Keiko he co-wrote three songs. “Chuck is a great producer and such a sweet human being. I got to spend time with his family and they are all beautiful, including his dog Annie and cat, Kit Kat,” recalls Keiko laughing. “I never had that kind of peaceful environment during a recording.” Keiko and Chuck join forces on the catchy “Top Secret,” with its bluesy undercurrent, percolating rhythmic pulse and the muted trumpet of Giulio Carmassi. The two also collaborate on the Keiko written “A Night With Cha Cha” and Loeb’s Quiet Storm inspired “Proof.” The duo also penned together the tunes “Two Hearts” and “Dream Seeker.”

GIL-SCOT HERON - THE REVOLUTION WILL NOT BE TELEVISED (REISSUE)

The revolutionary soul classic – a benchmark set that that brings together the most essential cuts from Gil Scott-Heron's first 3 albums on Flying Dutchman! The Revolution Will Not Be Televised was originally a song and a poem composed by Heron.  He first recorded it for his 1970 album Small Talk At 125th And Lenox, on which he recited the lyrics accompanied by only congas and bongo drums.The stuff on here is legendary – and is a great mixture of jazzy soul songs and righteous political poetry and protest. Gil's never been better than on these recordings – and the track list on the set is a great introduction to his work. Nearly all the great tracks are here, and the titles include some of Gil's best jazz funk groovers, including "Pieces Of A Man", "Lady Day & John Coltrane", "Home Is Where The Hatred Is", "Save The Children", and "No Knock".  

ALEX PUDDU - REGISTRAZIONI AL BUIO

If you enjoy the music of film soundtracks and library music of the 1970s, then you will definately like this release from Alex Puddu. The album entitled, Registrazioni Al Buio is what is described as being a fresh and charming recording by a talented and gifted musician who brings new life to old sounds, and he does this by restyling, merging, and mixing the old and new musical intuitions.  If you enjoy the works of Lesiman, Bacalove, Pisano, as well as Ennio Morricone, then you will like this as well. The album also features vocals by Edda Dell'Orso. Songs include: Il Canto Delle Orchidee; Il Seme Della Violenza; Il Deserto Sotto La Pelle; Alta Tension 3 am' Mirror Madness; Incontri Nel Parco; Anna Il Desiderio Chiuso Nella Stanza; Angeli Della Morte; Magia Nera, Rituali Inferno; Nuove Sezioni Ritmiche; and La Paura E'Una Lama Di Ghiaccio.

FIVE ROBERTA FLACK ALBUMS REISSUED - CHAPTER TWO, QUIET FIRE, KILLING ME SOFTLY, PLUS COLLABORATIONS WITH DONNY HATHAWAY AND PEABO BRYSON

ROBERTA FLACK - CHAPTER TWO

Beautiful work from Roberta Flack – an album that should be in the collection of any fan of righteous soul music! Forget all the wimpier modes of Flack's later years – because here, the young Roberta is a vision of positive power and spiritual soul – a singer with roots in jazz, which helps to transform some of the album's very surprising song choices – and a depth and sensitivity that goes way past the usual female soul modes of the time. Donny Hathaway handled half the arrangements for the record – a perfect choice for Flack – and Deodato handles the other, with some large arrangements that still have just the right sort of gentleness to go with her voice. Titles include a version of "Reverend Lee", penned by Eugene Daniels – and the great "Gone Away", written by Curtis Mayfield, Leroy Hutson, and Hathaway – plus the tracks "Just Like A Woman", "Do What You Gotta Do", "Business Goes On As Usual", and "Until It's Time For You To Go".  

ROBERT FLACK AND PEABO BRYSON - LIVE & MORE

This one is a double album from Roberta & Peabo – with some nicely recorded tracks from a gig at The Holiday Star Theater in Merrillville, IN (not too far south of Chicago) in the dawn of the 1980s – and some tight studio material, too! It's got a some terrific live versions of some of the biggest hits from both singers – plus their great duets. Titles include "Don't Make Me Wait Too Long", a nice version of "Back Together Again" – which was originally done by Roberta Flack and Donny Hathaway, "Killing Me Softly", "God Don't Like Ugly", "Feel The Fire", and "Only Heaven Can Wait/You Are My Heaven". 14 tracks on 2CDs! (SHMCD pressing). 

ROBERTA FLACK & DONNY HATHAWAY

An amazing record from the team of Flack & Hathaway – one of the hippest duos in soul! Individually, each had taken the music to new heights and new audiences, through the use of jazzy phrasing and sophisticated lyrics, while never selling out in the way that earlier pop soul acts had been reduced to. Flack's somber folksy style is a perfect match for the warm spirituality of Hathaway – and the pair work beautifully in counterpoint on hits like "You've Got A Friend" and "Where Is The Love", as well as on more obscure numbers like "Be Real Black For Me", "When Love Has Grown", and "For All We Know". The album also features a 7 minute spare acoustic/electric piano instrumental called "Mood". (SHMCD pressing).  

ROBERT FLACK - QUIET FIRE

Great small combo work by Roberta Flack, recorded early in her career, when she was still one of the hippest things around – and it's among her best records! Roberta's really come into her own as vocalist at this point and solidifying here personal style – with that clear tone and perfectly controlled style and phrasing – balancing a jazzy sensibility with the emotions of her gospel roots. A few tracks have some large arrangements by Arif Mardin, William Eaton, or Deodato – but most tracks feature a core group of studio jazz players that includes players like Joe Farrell, Richard Tee, Chuck Rainey, Hubert Laws, and Bernard Purdie. Includes a version of Eugene McDaniels' "Sunday & Sister Jones", plus "Go Up Moses", "To Love Somebody", "Let Them Talk", and "Sweet Bitter Love". (SHMCD pressing).

ROBERTA FLACK - KILLING ME SOFTLY

Roberta Flack at her most masterful – balancing righteous soul at it's most spiritually resonant and more mainstream accessible melodies – from her classic years at Atlantic when she was forging a whole new sound that was a unique blend of soul, jazz, and spiritualism. Each of Roberta's preceding albums on Atlantic were increasingly incredible – and this one caps of a pretty incredible late 60s to early 70s run of top quality work. Includes the ever-fresh title cut, remade later by The Fugees in a version that cemented it's status with the next generation – plus a great version Leonard Cohen's "Suzanne", "River", "No Tears (In The End)", "I'm The Girl", "When You Smile" and "Conversation Love". (SHMCD pressing. Nice replication of the original die-cut sleeve, too!) ~ Dusty Groove

THREE CLASSIC RONNIE VON ALBUMS REISSUED - RONNIE VON, A MAQUINA VOADOR, A MISTERIOSA LUTA DO REINO DE PARASSEMPRE CONTRO O IMPERIO DE NUNCAMAIS

RONNIE VON - RONNIE VON

Some groovy psychedelic rock from Brazil – the self-titled effort from Ronnie Von – a Brazilian television personality and musician who stayed incredibly busy from late 60s through the 70s – but recorded few albums as sublime as this album from 1968! The set's really a near-perfect batch of sunshine rock – sung in Portuguese and featuring some of the similar freeform sounds of his Brazilian contemporaries of the time – with groovy western touches in the instrumentation. Ronnie's vocals are backed up by organ washes and piano, buzzing guitars and walloping drums – but the overall feel is quite melodic – wonderful blend of California sunshine and Brazilian rock grooves! Tracks include "Meu Novo Cantar", "Chega De Tudo", "Espelhos Quebrados", Anarquia", "Esperahca De Cantar", "Contudo, Todavia", "Anarquia", "Mil Novecentos E Alem", and "Canto De Despedida". ~ Dusty Groove

RONNIE VON - A MAQUINA VOADOR

A really standout set from Brazilian rocker Ronnie Von – easily one of his greatest records ever, and a set that shows some wonderful steps forward in production and arrangements!  Great credit should certainly go to arrangers Francisco De Moraes and Djama Mellin as Ronnie's still got a rock approach at his core, but he's often working here with fuller backings that include strings and large orchestrations – all blended with key psychedelic elements of the time, in ways that are a fair bit like some of the best productions from the Cadet Concept series – especially the work of Rotary Connection! Like that group, Ronnie's music here draws from the familiar, then pushes its boundaries – taking the music into unexpectedly majestic territory, but still making it groove in the end. Songs include "Enseada", "Imagem", "Seu Olhar No Meu", "Verao Nos Chama", "A Maquina Voadora", "Cidade", and "Voce De Azul".  ~ Dusty Groove

RONNIE VON - A MISTERIOSA LUTA DO REINO DE PARASSEMPRE CONTRO O IMPERIO DE NUNCAMAIS 

Great late 60s work from Ronnie Von – an under-appreciated Brazilian rocker, and one with a sound that sits nicely between the Jovem Guarda generation and some of the headier groups to come in the 70s! There's a nice array of psychedelic influences at play here – strong echoes of British work of the time, but used in much more sophisticated ways than any Jovem Guarda acts – never a simple copycat approach, but also never as arty as some of the Tropicalia recordings of the time either. Ronnie's voice has a depth that allows some nice changes in mood from track to track – lightly lyrical one moment, a bit darker and more tripped-out the next – bringing a sense of variety to the record that almost recalls Caetano Veloso during the time, but a bit more rockish overall. Titles include "Atlantica", "Dindi", "De Como Meu Heroi Flash Gordon", "Foi Bom", "Rose Ann", "Comeci Uma Brincadeira", and "Mares De Areia".  ~ Dusty Groove

NEW RELEASES - BETTYE CRUTCHER, GLORIA GAYNOR, THE COMPLETE MOTOWN SINGLES COLLECTION 1972

BETTYE CRUTCHER - LONG AS YOU LOVE ME (BONUS TRACKS)

Definately ann overlooked gem on Stax Records – one of the only records ever cut by Bettye Crutcher – also a songwriter with the label, but a hell of a singer on her own! Bettye's got a style here that's very unique – still in a Stax mode, but a bit more sophisticated too – with a subtle groove that almost feels like some of the best female soul singers coming out of the Chicago scene at the time! Sir Mack Rice co-wrote most of the tunes with Bettye – and they've got a vibe that's really great – and which has made the record a real standout from Stax over the years – really unified, and really deep – in a way that goes past any easy hit modes or cliches. Titles include "Passion", "A Little Bit More Won't Hurt", "Sunday Morning's Gonna Find Us In Love" – plus "Long As You Love Me", "Call Me When All Else Fails", and "Up For A Let Down". CD features lots of bonus tracks too – all previously unissued – including "So Glad To Have You", "Don't You Think It's About Time", "We've Got Love On Our Side", "Make A Joyful Noise", and demo versions of "Walk On To Your New Love" and "I Forgive You".  ~ Dusty Groove

GLORIA GAYNOR - PARK AVENUE SOUND (BONUS TRACKS)

Finally reissued with bonus tracks is an overlooked groover from Gloria Gaynor – warm, wonderful, and filled with some great Philly touches! Sure, the record's got a Park Avenue address, but it's also got some great arrangements from Norman Harris, Jack Faith, and Ron Kersey – all of whom bring in a bit more warmth than on other Gaynor records, and wrap up her vocals in a sweetly gliding sound! This approach is heard to classic effect on the sublime "This Love Affair" – worth the price of the record alone – but it also keeps on going nicely through a set list that includes "Part Time Love", "For The First Time In My Life", "You're All I Need To Get By", "After The Lovin", and "Kidnapped". 5 bonus tracks: 12" disco versions of "This Love Affair", "You're All I Need To Get By", "Everytime You Make Love To Me", "Part Time Love (Full Time Job)" and a single version of "This Love Affair".  ~ Dusty Groove

THE COMPLETE MOTOWN SINGLES COLLECTION 1972

The soul sounds of Motown, circa '72 – with all the amazing singles from January to July of that huge and historic year – collected here in the first of a 2 box set grand finale for the Complete Motown Singles series! Creatively, the first half of '72 was an incredible period. The label would soon make the move to the west coast, so it's truly the end of an era – therefore as apt of a point as possible for Hip-O Select to begin closing up their beautiful series. Vol 12A has 113 tracks on 5CDs – encased in a hardcover, 130-page full color book with essays and notes on each track. Veterans like Stevie Wonder, The Temptations and The Four Tops sound freshly inspired, Marvin Gaye is hitting his peak, Michael Jackson and The Jackson 5 are in full stride, Martha Reeves & The Vandellas and The Supremes are still cutting gorgeous singles. In other words, there's still a whole lot of distinctively Motown magic happening! But '72 also finds the label branching out into funk, funk rock and both sunnier and grittier material by a variety artists – from Undisputed Truth and Sisters Love, to Frankie Valli and Rare Earth. Smokey Robinson & The Miracles, David Ruffin, Jr. Walker & The All Stars, The Commodores, Syreeta, Edwin Starr, Thelma Houston, The Devastating Affair, Bobby Darin, Blinky, Posse, The Marvelettes, Blue Scepter, GC Cameron, The Originals, Eddie Kendricks, Gladys Knght & The Pips and more! Also includes a bonus 45 by The Blackberries – "Somebody Up There" backed by "But I Love You More" – with the Mowest logo on the inner label! Love this! Can't wait for Vol 12B! (Limited edition.) ~ Dusty Groove

NEW RELEASES - FLEETWOOD MAC, THE SHADOW MORTON STORY, KENDRA MORRIS

FLEETWOOD MAC - THEN PLAY ON

There were 2 different versions of this LP, each with slightly different tracks. The CD contains all tracks from both versions. Led by singer-guitarist Peter Green, the first version of Fleetwood Mac was one of England's premier bands and possibly the greatest white blues band ever to emerge from the '60s blues revival.1969's Then Play On is their best album and Green's pinnacle achievement. Musicians include:  Peter Green, Jeremy Spencer, Danny Kirwin (vocals, guitar); John McVie (bass); Mick Fleetwood (drums), and Christine Perfect (background vocals) Heavily influenced by Otis Rush, Green had an unusually lyrical style for a blues musician, able to draw on flamenco, folk, even classical guitar--all of which make an appearance in the ambitious instrumental coda to his major opus, "Oh Well." Despite the inclusion of superior modern blues songs like "Rattlesnake Shake" and "Show-Biz Blues," Fleetwood Mac's Then Play On is notable for its instrumentals. Standout tracks range from the dream-like voyages "My Dream" and "Underway" to virtuosic three-guitar jams like "Searching For Madge" and "Fighting For Madge," both of which feature Green's inspired guitar work. ~ CD Universe

SOPHISTICATED BOOM BOOM - THE SHADOW MORTON STORY (VARIOUS ARTISTS)

This is a truely amazing  batch of music that ranges from early rockers to glittery glam rock – from a legendary producer who worked with everyone from The Shangri-Las to The New York Dolls! George Shadow Morton was a key figure in changing the sound of the New York scene in the 60s and early 70s – and with roots in novelty rock and early studio tricks for rock music, he was very well poised to bring his own sort of special magic to later famous productions that make Morton as important a production force as Phil Spector, Kim Fowley, and Jack Nitzsche! Included with this collection is a special book that's so rich in detail, it warrants a different sort of package than other titles in this series – a perfect accompaniment to the range of sounds that includes "Only Seventeen" by The Beatle-ettes, "Sophisticated Boom Boom" by The Goodies, "Baby" by Ellie Greenwich, "Past Present & Future" by The Shangri-Las, "So Soft So Warm" by The Nu Luvs, "Stop The Clock" by The Shaggy Boys, "Too Old To Go Way Little Girl" by Janis Ian, "You Keep Me Hangin On" by Vanilla Fudge, "And When It's Over" by The Vagrants, "In A Gadda Da Vida" by Iron Butterfly, "Midnight Lady" by Mott The Hoople, and "Stranded In The Jungle" by New York Dolls.  ~ Dusty Groove

KENDRA MORRIS - MOCKINGBIRD

Kendra Morris is no mockingbird here – no copycat singer or too-retro diva – and instead finds a great space on this album that really has her coming into her own! The album definitely draws on older soul modes – as do the arrangements by Jeremy Page – but the overall presentation is contemporary, in a style that's not Neo Soul, yet not rockish either – a special space that kind of slides in between genres, and which may well help push Morris over the top! The set features a really wonderful choice of tunes – including some tracks that we never would have imagined in a soulful setting – like "Space Oddity", "Shine On You Crazy Diamond", "Black Hole Sun", and "I'm Gonna Be (500 Miles)" – plus titles that include "Miss You", "Ride The Lightning", "Walk On The Wild Side", "Walk On By", and "As Long As I've Got You". ~ Dusty Groove

NEW RELEASES - BUDDY GUY, BAR-KAYS, JEFF GOLUB

BUDDY GUY - RHYTHM & BLUES

Rhythm & Blues is the latest release from the guitar man himself, and it' another Buddy Guy studio classic and it features contributions from Gary Clark Jr., Keith Urban, and Kid Rock just to name a few. Buddy blazes brightly on this double dose of Rhythm & Blues – one disc titled Rhythm and the other Blues – and both are prime late-career work from one of the world's foremost electric blues players! The stylistic differences aren't incredibly vast between the Rhythm half and the Blues halves. Buddy's playing is boisterous on both – borderline ferocious, actually – with rhythmic rockers more prominent on the Rhythm half, and bluesy structures and subject matter deeper on the Blues half. His voice and guitar playing are as strong as they've been in years – it seems like 70 is the new 40 for the amazing Mr. Guy! Titles include "Best In Town", "Justifyin'", "What's Up With That Woman", "What You Gonna Do About Me" with Beth Hart, "The Devil's Daughter", "Meet Me In Chicago", "Too Damn Bad", "Evil Twin" with 3/4s of Aerosmith, "Blues Don't Care" with Gary Clark Jr., "Poison Ivy", "Whiskey Ghost" and more.  ~ Dusty Groove

BAR-KAYS - DANGEROUS

Here's a reissue of a delightful album from the Bar-Kays, featuring a tighter sound than before from them – that lean approach to funky grooves that some of their contemporaries were hitting as the 80s moved on – yet still served up here by the full ensemble with a relatively fresh feel overall. Originally released on the Mercury label back in 1984, Dangerous eventually charted at number seven on the Billboard Soulc Charts. Amidst the beats and keyboards, there's still lots of nice funky inflections on bass and guitar – often handled in a skittish mode that energizes things nicely, especially alongside the more electro-styled vocals. The vibe of the record is definitely in keeping with the cover – but in the best way possible – and titles include "Dangerous", "Make Believe Lover", "Dirty Dancer", "Freakshow On The Dance Floor", and "Sexomatic".  ~ Dusty Groove. 

JEFF GOLUB WITH BRIAN AUGER - TRAIN KEEPS A ROLLING

Jeff Golub's got a new album out and it's definately one to check out. On Train Keeps A Rolling he's joined forces with Brian Auger for a terrific 11-song collection of soul, jazz, blues and rock which combines Golub's bluesy guitar sounds along with Auger Hammond B-3 organ - pure delight!  Also featured on the album are drummer Steve Ferrone, who was an original member of the acclaimed jazz-rock ensemble Brian Auger & The Oblivion Express, and bassist Derek Frank, who also had a history playing with Auger. Augmenting the tracks were percussionist Luis Conte and a lively horn section comprised of Mindi Abair (alto sax), Nick Lane (trombone), Dave Woodford (baritone sax, flute) and Steve Madaio (trumpet). Making guest appearances on the vocal selections were Christopher Cross, Ambrosia’s David Pack and Alex Ligertwood, who was also an original member of The Oblivion Express and also spent a years as a member of Santana.Golub’s Train Keeps A Rolling includes the standout tracks: Pusherman (Curtis Mayfield); Walking On The Moon (Sting); How Long (Ace); as well as Train Keeps A Rolling; Whenever your're Ready; and others. 

NEW RELEASES FROM MONDAY MICHIRU, CHANTE MOORE, EYDIE GORME

MONDAY MICHIRU - BRASILIFIED

Here's some really cool work from Monday Michiru – and a record that reminds us all over again why we love her music so much! The album's got Monday serving up all the Brazilian sounds you'd guess from the title – but always with that positive, upbeat style we've always dug in her music – a vibrant sort of energy that's very different than not only other singers of Brazilian music, but also from most of Michiru's contemporaries on the underground scene! The instrumentation is quite jazzy throughout – thanks to arrangements from Simone Giuliani and Alex Sipiagin – but there's also plenty of groove, too – a great mix of Brazilian roots and jazzier funk, of the sort you'd find on older projects from guys like Gilles Peterson or Patrick Forge. Monday's vocals sound better than ever in this setting – really reaching for the skies with a new sense of glory – and titles include "Sunrise", "Things I Say", "Zanzibar", "Bossamore", "Celebrate", "New Morning", "Beautiful People", and "Bedtime Story".  ~ Dusty Groove

CHANTE MOORE - MOORE IS MORE

Chante Moore is back with a vengeance and she is doing what she does best – keeping it smooth and special, and really letting her great vocals stretch out and flow! The album's got a mostly laidback vibe – tunes that are well-produced, but without any too-commercial modes too – that special sort of space between the mainstream and underground that Chante's always inhabited – and which comes off well here with studio help from Chris Big Dog Davis, Kawme, Midi Mafia, Derrick Kinsey, and others. The tunes include a few surprising choices, but most of the numbers are right on the money for the well-tooled Chante Moore aesthetic – titles that include "Baby Can I Touch Your Body", "Alone", "Talking In My Sleep",  "Don't Make Me Laugh", "Mrs Understood", and "On & On". ~ Dusty Groove

EYDIE GORME - BLAME IT ON THE BOSSA NOVA (INCLUDES BONUS TRACKS)

A classic has finally been reissued with additional bonus tracks! Easily the grooviest album that Eydie Gorme ever cut – a set that's well known for its classic title track, but which is filled with breezy bossa numbers throughout! Few other American singers ever got the light, lively spirit of bossa this right back in the 60s – and although Eydie could sometimes be an overly-expressive singer on other records, she's got a compact touch here that's perfect for the jazzy arrangements of Nick Perito and Billy May – which themselves often use a bit of Hammond organ from Dick Hyman to give the tracks lots of Walter Wanderley-ish sort of grooves! Other instrumentalists include Pacheco on flute and Mundell Lowe on guitar – and titles include the classic "Blame It On The Bossa Nova", plus "The Coffee Song", "The Message", "One Note Samba", "The Gift", "Almost Like Being In Love", "Moon River", "Desafinado", and "Dansero". CD features two bonus tracks – "Oba Oba" and "Sweet Talk" – both arranged by Deodato!  ~ Dusty Groove

HERBIE HANCOCK'S THE COMPLETE COLUMBIA ALBUM COLLECTION 1972-1988 TO FEATURE 31 ALBUMS

Herbie Hancock’s  The Complete Columbia Album Collection 1972-1988 brings together, for the first time, Hancock’s complete Columbia Records and CBS/Sony Japan catalog.  This deluxe 34-CD box set will be released on November 12, 2013, just in time for the holiday season. 

Hancock's catalog on Columbia and CBS/Sony Japan is a microcosm of musical development in the 1970s and '80s, and an uncannily accurate forecast of many trends that would follow.  Those developments played out over the course of 31 albums, of which 8 have never been issued in the U.S. (or outside of Japan), 3 others have never been issued on CD in the U.S. (Sunlight, Magic Windows, Lite Me Up), and some that were issued on CD have been out of print for years. Most importantly, all of them have never been gathered in one box set collection before. 

This incredible box set is a includes 28 single albums and three double-CD albums (for a total of 34 discs). Each album will be packaged in a mini-LP CD cardboard replica of the original jacket, with original artwork including gatefold jackets where applicable. 

Accompanying the discs will be a 200-page book, published exclu­sively for this collection.  In addition to dozens of rare photographs, the book will contain several sections, starting with a comprehensive 5,500-word historical essay written by Bob Belden.  Belden has won three Grammy Awards for his work with Columbia/Legacy on The Miles Davis Series, including album notes (twice) and compilation producer.  An accomplished jazz composer, arranger, bandleader, and recording artist in his own right, Belden has served as CD reissue producer at Legacy for the Hancock albums Head Hunters, Sextant, Thrust, The Piano, V.S.O.P.: Live Under the Sky, Future Shock, Sound-System, and Perfect Machine.

Also included in the book will be sidebars on Hancock as pianist, composer and synthesist, written by Belden.  Schlueter has written a sidebar on noted record producer David Rubinson, who produced all but six of the albums in the box set, and is also known for his productions of Santana, Taj Mahal, the Pointer Sisters and the Chambers Brothers.  A special sidebar is devoted to Hancock's late sister Jean Hancock, who contributed lyrics to many of his songs.  And another unique feature of the book is a glossary of the more than 60 different electronic instruments played by Hancock and the other musicians over the course of the recordings.

The book will also contain individual commentaries on all 31 albums by Hancock discographer/historian Max Schlueter. The third major element of the book is one of the most detailed discographies ever included in a Legacy box set, assembled by box producer Richard Seidel.  Included are full musician lineups and instrumentation, recording data (dates, producers, engineers, mixers, studios, etc.), exact original release dates in both the U.S. and Japan, cross references for additional appearances of various songs elsewhere in the box, Billboard chart information, R.I.A.A. certifications, and a short-form discography of Hancock's solo recording career before and after his Columbia years. 

In the stream of modern jazz during the last decades of the 20th century, the imprint left by pianist, keyboardist, synthesist, composer, arranger, producer, and bandleader Herbie Hancock on jazz, fusion, pop music, R&B, disco, hip-hop, electronica and more – including his beloved traditional post-bop – spans generations.  (His pioneering use of the Vocoder – precursor to T-Pain's use of Auto-tune – is just the tip of the iceberg.)  His 14 Grammy Awards and one Oscar are emblematic of the Buddhist principles of inclusion and collaboration that course through the ebb and flow of his career. 

At the heart of that career are his 16 productive years as a Columbia and CBS/Sony (Japan) recording artist from 1972 to 1988, by far his longest, most prolific association with any record label.  Those 16 years encompassed the evolution from the "Mwandishi" Sextet, to the Head Hunters to the Herbie Hancock Group.  The breakthrough of the V.S.O.P. recording and touring groups with Freddie Hubbard, Wayne Shorter, Ron Carter, and Tony Williams ignited the traditional jazz revival of the 1980s.  Along with the Herbie Hancock Trio and Quartet lineups, he is also heard on a landmark solo electric keyboard/acoustic piano project in 1974, a full album solo acoustic piano project in 1978, and the memorable duet concert project with Chick Corea (also 1978).  And along the way: Hancock's first digital and direct-disc records in Japan; his MTV-pioneering downtown New York "Rockit" breakthrough with Bill Laswell and Material; and the Death Wish and Oscar-winning Round Midnight original motion picture soundtracks.

Each of the eight CBS/Sony Japan albums was a unique addition to his disco­graphy: Dedication (solo, both acoustic and electric, live in the studio, without overdubs, 1974); Flood (the Head Hunters Band live, 1975); The Herbie Hancock Trio (with Carter and Williams, studio, 1977, one of only two piano-trio records Hancock has ever made, along with the 1981 set below); Tempest In The Colosseum (V.S.O.P. with Hubbard, Shorter, Carter, and Williams, live, 1977); Directstep (full band, studio, direct-to-disc, 1978);  Five Stars (same V.S.O.P. lineup, their only studio album, direct-to-disc, 1979); Butterfly (full electric band with singer Kimiko Kasai, studio, 1979); and Herbie Hancock Trio With Ron Carter + Tony Williams (studio, 1981).

Of special note in this collection are the eight albums that were released only in Japan, and are released now in the U.S. for the first time.  They are comprised of acoustic and electric, studio and live recordings, and several of them were notable for their deployment of advanced audio technologies in early development in Japan, such as digital recording and direct-to-disc. Aside from those eight albums, there were two albums recorded and released in Japan, which were subsequently issued in 2004 by Columbia/Legacy for the first time on CD in the U.S. (both with bonus tracks): The Piano (solo, acoustic piano, direct-to-disc, 1978, recorded one week after Directstep); and V.S.O.P. / Live Under The Sky (1979).

Because of its proliferation of live concert albums, The Complete Columbia Album Collection 1972-1988 allows the perspective of hearing and contrasting many songs (originals as well as jazz standards) in multiple versions.  For example, "Watermelon Man" (Hancock's first "hit" record for Mongo Santamaria back in 1963), was re-grooved by the Head Hunters on their self-titled 1973 LP, the lineup that included Bennie Maupin (reeds), bassist Paul Jackson, drummer Harvey Mason, and percussionist Bill Summers.  Compare it to the live concert version on Flood (CBS/Sony Japan) two summers later in Tokyo, when guitarist Blackbyrd McKnight was on-board, and Mason had been replaced by Mike Clark.  Similarly, studio and live versions of "Chameleon" are also heard on both albums, respectively.

Throughout this collection, in addition to "Watermelon Man" and "Chameleon," there are multiple versions or re-imagined, updated versions to be discovered of "Maiden Voyage," "Canteloupe Island," "Dolphin Dance," "Eye Of The Hurricane," "Speak Like A Child," "Tell Me A Bedtime Story," "Butterfly," "Sunlight," "I Thought It Was You," "Hang Up Your Hang Ups," "Rockit," and others.

A unique personality in jazz history, Hancock has been as musically controversial as his mentor Miles Davis – with whom he played in the "second great quintet" from 1963 to '68 (with Wayne Shorter, Ron Carter, and Tony Williams).  Throughout that period, Hancock maintained a presence recording LPs under his own name as a leader on Blue Note Records.  He also lent his talent to Blue Note sessions led by Lee Morgan, Freddie Hubbard, Wayne Shorter, Donald Byrd, Kenny Dorham, Grant Green, Bobby Hutcherson, Stanley Turrentine, Tony Williams, and Jackie McLean, to name a few. 

When Hancock left Miles in 1968, he carved out one of the most diverse careers ever encountered in jazz or pop.  He satisfied both the artistic and the commercial sides of his craft with acoustic and electric music made in the studio and on tour, music that often transcended categorization.  Recording 31 albums in 16 years averages two per year – but there were years when he released as many as four albums in one year's time (1977).  Fully half the albums in this box set collection made the Billboard Top 200 albums chart, most of those reaching the Top 100, a rare achievement for a jazz musician.

Along the way, countless names passed through the tidal wave of music Hancock created: Eddie Henderson, Buster Williams and Billy Hart in the "Mwandishi" era; Bennie Maupin from the  "Mwandishi" era through most of the 1970s; Hubbard and Shorter as perennial members of V.S.O.P. (with Carter and Williams); plus (to name a few) Wah Wah Watson, Ray Parker Jr. (of "Ghostbusters" fame), Jaco Pastorius, synthesist Patrick Gleeson, Carlos Santana, Alphonse Mouzon, Sheila E., the Brothers Johnson, Adrian Belew, Rod Temperton of Heatwave and "Thriller" renown, Narada Michael Walden, and, in the quartet in the summer of 1981, 19-year old Wynton Marsalis.  

In the "Rockit" period when Hancock worked with Bill Laswell and Material, collaborators included Michael Beinhorn, Bernard Fowler, turntablist Grand Mixer D.ST, Anton Fier, Nicky Skopelitis, Bootsy Collins, Leroy 'Sugarfoot' Bonner, and Ghanaian kora player Foday Musa Suso, with whom Hancock recorded an entire duet album later in 1984.  On the Round Midnight sound­track recorded in 1985, in addition to Carter, Williams and Shorter, players included Bobby McFerrin, Dexter Gordon, John McLaughlin, Chet Baker, Bobby Hutcherson, Lonette McKee, Cedar Walton, and Billy Higgins.

Herbie Hancock: The Complete Columbia Album Collection 1972-1988 was produced for reissue by Grammy®-winning producer Richard Seidel.  Seidel's box set credits for Legacy include the four most recent Miles Davis box sets, all of which won several awards and polls around the world, among them the 70CD + DVD The Complete Miles Davis Columbia Album Collection (2009) and this year's Miles Davis Live In Europe 1969, The Bootleg Series Vol. 2.  Since 2011, Seidel has also produced for Legacy sixteen other Complete Album Collections including titles by Thelonious Monk, Charles Mingus, Weather Report, The Mahavishnu Orchestra, Return To Forever, The Brecker Brothers, Wayne Shorter, Stan Getz, Paul Desmond, Nina Simone, Sarah Vaughan, and Etta James, as well as the Grammy®-nominated To Be Free: The Nina Simone Story box set (2008).

Herbie Hancock: The Complete Columbia Album Collection 1972-1988 was mastered to 24/96 at Battery Studios by Mark Wilder (who has won multiple Grammy Awards for Best Historical Album box sets on Columbia/Legacy by Miles Davis & Gil Evans, Louis Armstrong, and Billie Holiday) and Maria Triana.

"Taken in its entirety," writes Belden, "The Complete Columbia Album Collection 1972-1988 gives the listener and reader a glimpse into the internal philosophy of life of Herbie Hancock contained in these CDs.  Rarely does a collection of sound contain so much of a human being's revelatory process.  Within these CDs you can listen to a musician reinvent himself time and time again, all at his terms."

Herbie Hancock: The Complete Columbia Album Collection 1972-1988 

01. Sextant (1973)

02. Head Hunters (1973)

03. Dedication (1974)

04. Thrust  (1974)

05. Death Wish original soundtrack (1974) 

06. Flood (1975)

07. Man-Child (1975)

08. Secrets (1976)09        

09. V.S.O.P. ((1976)

10. The Herbie Hancock Trio (1977)

11. V.S.O.P. / The Quintet (1977)

12. V.S.O.P. The Quintet: Tempest In The Colosseum (1977)

13. An Evening With Herbie Hancock & Chick Corea In Concert (1978)

14. Sunlight (1978)

15. Feets Don't Fail Me Now (1979)

16. Directstep (1979)

17. The Piano (1979)

18. V.S.O.P. The Quintet: Live Under The Sky (1979)

19. V.S.O.P. The Quintet:  Five Stars (1979)

20. Kimiko Kasai w/ Herbie Hancock: Butterfly (1979)

21. Monster (1980)

22. Mr. Hands (1980)

23. Magic Windows (1981)

24. Herbie Hancock Trio With Ron Carter + Tony Williams (1981)

25. Lite Me Up (1982)

26. Quartet (1983)

27. Future Shock (1983)

28. Sound-System (1984)

29. Herbie Hancock And Foday Musa Suso: Village Life (1985)

30. Round Midnight Original Soundtrack (1986)

31. Perfect Machine (1988)

NEW RELEASES FROM BRAZIL - MARCOS VALLE & STACEY KENT, BEBEL GILBERTO, RITA LEE

MARCOS VALLE & STACEY KENT - AO VIVO

Here's a brand new release from Marcos Valle and Stacey Kent and this one's a really wonderful collaboration – totally unexpected, and a fresh chapter in the career of both artists too! The set was done in celebration of Marcos Valle's 50 years in music and it features no other than Valle himself on acoustic piano and a bit of vocals, Stacey Kent on lead vocals, and some guest tenor sax from Jim Tomlinson. Overall the setting is lean, mostly small group backing, but full of feeling thanks partly to Stacey's expressive vocal performance, but also to Valle's still-great sense of timing and tone which makes the arrangements very different than Kent's usual bag. Stacey really takes the vocal lead on most of the record – and the bossa setting is a great one for her style – and arrangements are by Valle and Jesse Sadoc, who leads the combo on trumpet. Songs include "Gente", "She Told Me She Told Me", "If You Went Away", "The White Puma", "Look Who's Mine", "The Face I Love", "Passa Por Mim", "Pigmalio 70", and "The Crickets"~ Dusty Groove.

BEBEL GILBERTO - BEBEL GILBERTO IN RIO

Bebel Gilberto's new album's got a depth that goes beyond some of the simple bossa-rework of Gilberto's earliest record.  It's got a maturity that even goes past recent work, a factor that may come partially from the musical backings. Bebel Gilberto in Rio was co-produced by Kassin and Liminha, who take traditional elements and make them crackle a bit more, but without any too-contemporary tricks or bossa-remix clunkiness. Set in a beautifil setting with Bebel Gilberto sounding even more warmer and more soulful than ever before, some of the tunes are in English, most are in Portuguese, but nevertheless Bebel manages to bring together some older classics with lots of her own great work as well. Titles include a great remake of "Bananeira" "Simplesmente", "Momento", "Sun Is Shining", "August Day Song", "Rio", "Tanto Tempo", "Samba E Amor", and "Close Your Eyes". ~ Dusty Groove

RITA LEE - BUILD UP / HOJO E O PRIMEIRO DIA DO RESTODA SUA VIDA / ATRA DE PORTO TEM UMA CIDADE

Os Mutantes singer Rita Lee's first three solo album released all on on CD! On Build Up you'll hear Lee stepping out as a sophisticated pop singer, almost in the way that Nico did on the Chelsea Girl album, after leaving the Velvet Underground. Arrangements have a weird twisted edge – as Rita makes her way through a set of originals and a few covers, in an almost deadpan, ice-blond mode that reminds us of some of Jane Birkin's early work. Arrangements are by the great Rogerio Duprat, and titles include "Sucesso, Aqui Vou Eu", "Prisioneira Do Amor", "Hulla Hulla", "Tempo Nublado", "Precisamos De Irmaos", and "Calma" – plus a nice cover of "And I Love Him". Next up is Hoje E Primeiro, where Lee is clearly the star of the show – singing all lyrics with a much fiercer vocal approach than on her earlier solo album – pushing things hard to keep up with the jamming keyboards of Arnaldo Baptista and guitar of Sergio Dias – both of whom are working with the energy that would show up in the Mutantes styles in the years after Lee departed. One of the most compelling aspects of the record is the structure of the tunes – less conventionally rockish overall than the direction Os Mutantes were moving towards – and still with that strong dramatic flair that Lee always provided when in the group. Titles include "Vamos Tratar Da Saude", "Amor Branco E Preto", "Superficie Do Planeta", "Teimoisia", "Tapupukitipa", "Beija Me Amor", and "Frique Como". On Atras Do Porto, Lee hits a sort of space rock sound, with a weird set of materials that sort of mixes an early 70's space rock guitar sound with Wings-like production for a more pop feel. Our Portuguese is terrible, so we can't read the lyrics and get hip to the concept, but the inside cover has the band looking kind of like refugees from Spinal Tap or something. With the cuts "Tem Uma Cidade", "Menino Bonito", "Mame Natureza", and "Eclipse Do Cometa".  ~ Dusty Groove