Tuesday, October 29, 2013

NEW RELEASES - ERA RECORDS NORTHERN SOUL, NEW ORLEANS FUNK, DUES PAID:THE BLUESTIME STORY

ERA RECORDS NORTHERN SOUL (VARIOUS ARTISTS)

Storming soul groovers from Era Records – an LA label that was known for a host of different genres, but who managed to cut some marvelous Northern Soul in the mid 60s! Era's an under-tapped source for work of this nature – as evidenced by the number of previously-unreleased cuts on the collection – showing that even if you have a handful of singles on Era from the 60s, you've still got plenty more to discover! The music has a great 60s LA finish – swinging soul with a very tight approach to rhythm, and a subtle set of drama that makes most of the lyrics break out differently than more familiar soul music from back east. As always with Kent, the whole set's a joyous discovery – really well put-together, with great sound and notes – and a selection of cuts that includes "Come On Home" by Othello Robertson, "Stand There Mountain" by Vince Howard, "I Ain't Gonna Take You Back" by Brenda Holloway & The Carrolls, "You & Yours" by The Composers, "I Get A Feeling" by The Soul Mates, "My Book" by Bruce Cloud, "The Ice Man" by Billy Watkins, "Boomerange" by The Lovemates, and "I Wanna Know" by Carrol Connors. ~ Dusty Groove
NEW ORLEANS FUNK - THE ORIGINAL SOUND OF FUNK VOL. 3 (VARIOUS ARTISTS)

The cover image looks old-timey, but the grooves on the set are totally modern – a wealth of wonderful funky numbers from the New Orleans scene of the 60s and 70s – just the kind of gems that made us love the previous two volumes in this series! We might well argue that this third collection is the coolest of the bunch – as it features some more obscure, overlooked gems from the Crescent City – filled with the kind of raw rhythms and driving grooves that always make Nola soul tracks so great! There's no hoke here at all – no Mardi Gras cliches nor pandering for the tourists – and instead, this stuff is at the cusp of the best bursting moment of pride and power for New Orleans – the kind of cuts cut at a time when the city was really discovering how great it could be. As with all Soul Jazz sets, the notes and package really live up to the quality of the music – and the set's overflowing with greatness, in a batch of 18 tracks that includes "What You Want" by Lee Dorsey & The Meters, "Got A Get My Baby Back Home" by Tony Owens, "Fairchild" by Willie West, "Go To The Mardi Gras" by Professor Longhair, "Trouble With My Lover" by Betty Harris, "Omar Khayyam" by The Rubaiyats, "Gossip Gossip" by Diamond Joe, "Fagged Out" by The Deacons, "The Book" by Eldridge Holmes, "We The People" by Allen Toussaint, "Jockey Ride (parts 1 & 2)" by The Explosions, and "Do It Fluid" by The Dirty Dozen Brass Band. ~ Dusty Groove


DUES PAID - THE BLUESTIME STORY (VARIOUS ARTISTS)

A totally great collection of rare material from the Bluestime label – a rare rootsy side of the Flying Dutchman imprint at the start of the 70s! Flying Dutchman is a well-remembered label for its rich array of funk and jazz titles – and although Bluestime worked in the blues side of the spectrum, most of these numbers are pretty darn funky too – thanks to some shared musicians and production talents with the main Flying Dutchman scene. In other words, the tracks are all pretty darn hip – and way way more than blues – really more funk tunes that have a gritty, raspy edge – like those rare few times when Chess Records' bluesmen got nice and funky. Titles include "I'm A Dues Payin Man" by Optis Spann, "Every Day I Have The Blues" by T-Bone Walker, "Plastic Man" by Joe Turner, "Love" by Harmonica Slim, "Paris Blues" by The Super Black Blues Band, "I Wonder Why" by Otis Spann, "Something So Bright" by Malcolm & Chris, "That's Alright" by Harmonica Slim, Chicago Charva Chapter" by The Plaster Caster Blues Band, "Disillusion Blues" by Leon Thomas, and "For BB King" by T-Bone Walker. ~ Dusty Groove


VOLTAIQUE PANORAMIQUE VOLUME 1 CONTAINS GREAT TRACKS FROM BURKINA FASO

“Voltaique Panoramique Vol.1″ contains great unheard tracks from Burkina Faso a true must have for collectors and music lovers. The release comes with extensive liner notes and an inlay which features the original 7 inches.

Until recently not much was known about music from Burkina Faso, formerly called the Upper Volta. It is still one of West Africa lesser known forms of popular music. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara’s dream for a new society, Voltaic music emerged as some form of true cultural revolution. Remote, poor and isolated, Burkina Faso looked to the orchestras and artists from neighbouring countries such as Mali, The Ivory Coast, Ghana, Togo and Benin. Located at its northern border, Niger is the only other West African country whose music stayed as isolated as the music hailing from Burkina Faso. Most of its bands and artists hail mostly from Ouagadougou and Bobo-Dioulasso. They infuse some of the rich local traditions, such as mossi dances or dioula singing, with afro-cuban flavours, American rhythm’n'blues, French pop or Congolese rumba. Electric guitars and organs swirl around balafon and solid horn sections. Despite the fact that the 1960′s and 1970′s Upper Volta lacked a proper recording studio and record pressing plant, there was a great deal of popular music produced in the country from the late 1960′s to the early 1980′s, mostly on seven inches.

With over thirty 7 inches released, Bobo-Dioulasso’s Volta Jazz is the most prolific of those Voltaic bands. One of their hymns, composed and sung by sax player Moustapha Maiga is Djougou Malola. Praising Bobo and its inhabitants, this amazing bolero embodies perfectly the thinness, remoteness and grace of modern Voltaic music. On the same emotional level, Nogleem Nooma is one of the loveliest ballads to have come out of Burkina Faso. A short instrumental number Killa Naa Ye Killa displays the masterful playing of Semporé, perfectly at ease with his tenor saxophone, his flute and band direction.

Hailing from Sifarasso in south west Burkina, Richard Seydou Traoré is one of Burkina’s most elegant musicians, Rassemblement is a tongue in cheek number nodding to American jerk rhythm with military orders sung in French. A close friend of Traoré, Jean-Bernard Samboué belonged to the same generation of students coming of age in the early 1970′s. Aïcha stands certainly as his best song. With the help of his band, Mange Kondé recorded three singles released under his own name. Beni Idjananko is reminiscent of the great mandingo songs from Guinea. Warm and fierce, Woulouni displays some exceptional groove virtues. Born in Boulsa in 1947, Pierre Sandwidi is one of the most beloved Voltaic stars. One of his stronger moment, the infectious Yamb Ney Capitale benefits from the participation of Super Volta musicians. A true highlight of Voltaic music, Super Volta’s La Guitare de Tinga displays the masterful guitar playing of Désiré Traoré and the artistic maturity of one of Burkina’s best bands. The same musicians are to be found on Abdoulaye Cissé’s Jeunesse Wilila. He reached for fame in 1974 with A Son Magni, one of CVD first 7 inches while the b-side, L’homme à la Guitare gave him an instant nickname. In 1976, he recorded another four song session, done live at the Maison du Peuple with a simple Akai tape stereo recorder. A true masterpiece and a generational hymn, Jeunesse Wilila is an ode to the empowerment of the youth to build up the country, fifteen years after its independence. A perfect blend between afro-funk and afro-beat, Deny tologuelen is the last release of the Volta Discobel, just after owner Master Boureima’s death. Intense, fresh and full of creativity with vocal interjections one could think might stem from Jean Rouch’s cult movie Cocorico Monsieur Poulet, it is a true and unsung masterpiece.

The Authentique Dafra Star de Bobo-Dioulasso had the opportunity to record two full albums and a dozen singles, almost released locally on the Music Hall record label. One of the highlights of the band’s repertoire is Ram Pasonayé, sung with passion by Siaka ‘Elvis’ Ouattara. In the same league as the Dafra Star, Echo Del Africa was one of Bobo’s finest bands. Six years later, this band was able to release their first 7 inch in August 1974 under the brand Discaf, owned by Antoine D’Albin, one of the band first singers. The next release is the politically correct 1975, Année De La Femme, sung by bandleader José Thiono-By. On the b-side, the fierce younger singer Youssou Diarra stole the show with Yiri Wah, one of the hardest sounding songs from Burkina Faso in the 1970′s.


Tracklisting:

01. Jean Bernard Samboue – Aicha
02. Cisse Abdoulaye- Jeunesse Willa
03. Pierre Sandwidi – Yamb NeY Capitale
04. Konde Mangue – Woulouni
05. Konde Mangue – Beni Idjanako
06. Orchestre Dafra Star – Ram Passomaye
07. Traore Seydou – Rassemblement
08. Orchestre Les Vaudou De Flamboyant – Kogo Ni Toulou
09. Ama Maiga – Deny Tologuelen
10. Echo Del Africa – Yiri
11. Idy-O-Idrissa – Bissongo Lebguin’wa
12. L’harmonie Voltaique – Killa Naa Ye Killa
13. Orchestre Volta Jazz – Djougou Malola
14. L’harmonie Voltaique – Noglem Nooma
15. Orchestre Super Volta De La Capitale – La Guitare De Tinga

The compilation Various “Voltaique Panoramique Vol.1” (Kindred Spirits) is going to be released November 15, 2013.

~ grooveattack.com


Friday, October 25, 2013

SOUL TRAIN AWARDS TO FEATURE PERFORMANCES BY SMOKEY ROBINSON, ERIC BENET, BOBBY CALDWELL, JOSS STONE, RON ISLEY & OTHERS

CENTRIC, a BET Network, has announced that Jennifer Hudson, Tamar Braxton, Smokey Robinson, K. Michelle, Ron Isley, Wale, Eric Benet, Candice Glover, Kem, Chrisette Michele, Bobby Caldwell and Joss Stone will be hitting the stage as performers for SOUL TRAIN AWARDS 2013. This year's show pays homage to the soul soundtrack of the 90's, allowing fans to reminisce on a decade of influential black cinema and music. Charged with keeping the party going throughout the night are Grammy Award winning producers 1500 or Nothin' and legendary keyboardist Greg Phillinganes who have both been tapped as music directors for the show. As previously announced, comedian and actor Anthony Anderson will host the event in Las Vegas on November 8th, which will air on CENTRIC and BET, December 1, 2013 at 8PM ET/PT.

"We are gearing up for a big show this year, and the performers set to take the stage are just the beginning of what's to come. I hope everyone is ready because Centric is bringing the party to Las Vegas come November 8th," said Paxton Baker, General Manager and Executive Vice President, CENTRIC. "We are forever grateful for the involvement of so many amazing performers and their loyalty to the Soul Train and Centric brands. Music is the core of Centric's DNA and our diverse roster of new talent and legendary artists display our continued commitment to providing quality programming for soul music lovers."

For the first time, SOUL TRAIN AWARDS 2013 will be held at the Orleans Arena, one of the nation's leading mid-size arenas. Also marking a first for the award show is the addition of a second stage, which will feature a rotating mix of celebrity DJs. Hip-hop sensation Kendrick Lamar leads this year's nominations with six nominations across multiple categories, including: Best New Artist, Album of the Year and Song of the Year. Tied with five nominations each are Miguel, Justin Timberlake, Robin Thicke, Chris Brown, Tamar Braxton and Janelle Monae.

SOUL TRAIN AWARDS 2013 is directed by Tony McCuin and produced by Centric TV and Sunseeker Media. Executive producers of the network telecast are as follows: Paxton Baker, Tami Arasli, Derek Lewis from Centric; Bart Phillips from Sunseeker Media and Kenard Gibbs from Soul Train Holdings. This year's motto is We Got Soul.

For more information, please visit BET.com/SoulTrain. Follow us at @centrictv and @bet, and join the conversation with #SoulTrainAwards #WeGotSoul.
~ Centric

EZRA BROWN - THE JOURNEY

Gospel, blues, jazz, r&b, soul, hip-hop—language of the human experience. Ezra Brown’s music speaks this language. His horn serves as his translator, becoming a voice that speaks in tongues transcending any language barrier. Ezra’s sound — a culmination of southern comfort and urban grit, gives birth to a style that is new, yet familiar. This sound speaks from the soul. A sound Ezra calls Soul Muzik. When he picks up his horn, sound is transformed into a language that enters the soul producing an experience that is pure music. An experience that goes beyond sound becoming something that is felt. Music that translates the human experience for all to understand.

Ezra Brown uses his musical style to transform a mere story to a lyrical moment. This style makes him a much sought after force among his contemporaries. As saxophonist, keyboardist,music director, and arranger, he has collaborated with a broad spectrum of industry greats. He has worked with an impressive list of Grammy Award winning artists – Cassandra Wilson, John Forte, Dorothy Moore, Charlie Daniels and Miki Howard. His works also includes Grammy nominated artists – Les Nubians, Bobby ‘Blue’ Bland, Johnnie Taylor, Brass Construction, Wilson Pickett, Gavin DeGraw, Calvin Richardson, Ryan Shaw, Gordon Chambers and Latin artist, CuCu Diamantes. On the world stage Ezra is just as comfortable as he is when he’s at home — evidentin his performance with Italian pop sensation Jenny B. Most recently, he has lent his talents to the albums of two international artists: jazz organist and pianist, Matthias Bubiath and Sony Music represented Japanese pop singer JUJU.

Constantly fine tuning his artistic expression, Ezra is currently involved in several projects. He serves as music director for Blue Nefertiti (one half of the group Les Nubians); as a member ofT he Mighty Embassy Ensemble for up and coming hip-hop artist Blitz the Ambassador.; and as a band member for Cheryl Pepsii Riley at The Village Underground in New York City, the top R & B open mic night in the country. You can hear Ezra on MTVu’s Live Sessions, where he is featured with Blitz the Ambassador and John Forte “Breathe” video on MTVu; ESPN World Cup 2010 playlist Blitz the Ambassador’s “Something To Believe In”; and clothing label LRG presents The Kid Daytona “Lifted” w/ hip hop artist Styles P.


Ezra Brown’s debut solo album, The Journey makes its release in late January. His promo tour for the album will start in Japan, mid-November.
~ ezrabrown.com


BRIAN CULBERTSON'S 'ANOTHER LONG NIGHT OUT' TO FEATURE A WHO'S WHO OF SMOOTH JAZZ ARTISTS

A strong interest from Brian Culbertson 's international legion of fans has powered the contemporary jazz star even closer to completing his passion project - and that is re-recording his debut album. His Indiegogo fundraising campaign is helping to bring that project to fruition.

Culbertson is re-recording his full debut album, " Long Night Out , "as" Another Long Night Out , " which will be released in February 2014 in conjunction with the 20th anniversary of the release of the original record.

The multi-instrumentalist was a 20-year-old DePaul University student recording demos in the bedroom of the crowded Chicago apartment that he shared with three roommates playing most of the instruments himself on the tracks that landed him a six-album record deal. This time out he will be accompanied by many of contemporary jazz's finest musicians.. Along with a 38-Piece Orchestra, other guest musicians will include the Rippington's Russ Freeman, Eric Marienthal, Candy Dulfer, Toto's Steve Lukather, Paul Jackson Jr, Fourplay's Chuck Loeb and Nathan East, Jimmy Haslip and Will Kennedy of Yellowjackets fame, Ricky Lawson, Michael Thompson, Lenny Castro, Michael Bland and Patches Stewart with a few more marquee artists soon to be confirmed for Culbertson's 14th collection.   

"For many years, I have wanted to remake the first album using real musicians and thought the 20th anniversary would be the perfect time. I turned to crowdsourcing because i saw it as a way for fans to be more Involved.Another Long Night Out' is a return to my roots as a contemporary jazz player compared to the more instrumental funk and R&B that I've been doing lately. I always liked these songs and I like them even more now with real musicians playing 'em. "



COLUMBIA RECORDS TO RELEASE DAFT PUNK RANDOM ACCESS MEMORIES DELUXE BOX EDITION

The critically acclaimed and chart topping album by French duo Daft Punk, Random Access Memories has sold nearly 3 million copies worldwide since its May release and with accolades from around the globe.  The Deluxe Box Set Edition is $275.00 and will be a cloth bound box carefully filled with specially designed and rare collectables. 

List of contents of the Random Access Memories Deluxe Box Set Edition:

 -The Deluxe Box Set Edition is presented in a cloth-bound box (333mm x 333mm / 13" x 13") stamped with the Random Access Memories logo in gold foil on the cover. All individual contents are separated by vellum dividers printed with a circuit pattern texture inspired by the gloves of the Daft Punk Robots.

-A special edition 180-gram double vinyl with gold and silver foil labels. Includes an 8-page saddle stitched booklet containing album artwork, credits and lyric sheets.

-A 56 page cloth-bound, hardcover photo book of images from the RAM recording sessions and film shoots, featuring a foreword by Paul Williams.

-A special edition 10" collector's vinyl containing an extended interview with Giorgio Moroder taken from the original session recordings for the song, "Giorgio by Moroder".

-Two sets of Robot helmet design schematics with individual components separated onto 8 layers of unbounded transparencies. Each set is contained in a clear presentation pouch. 

-A pair of full body Robot design schematic posters (304mm x 608mm / 12" x 24") printed on heavy weight matte finish poster paper.

-A 70mm motion picture filmstrip containing 5 sequential frames from the "Lose Yourself to Dance" original production dailies, mounted in a heavy weight matte stock with an open back.
-A pair of gold and silver plated, metal encased, reusable USB drives containing the following:

AUDIO:
High-resolution digital audio files (88.2KHz / 24Bit) of the 13 original tracks on RAM plus the high-resolution audio files of the bonus track, Horizon and Daft Punk's Get Lucky Remix.

VIDEO:
High-definition, Apple Pro Res 422 (1920x1080) video files of:  the full length video for "Lose Yourself to Dance"; the original RAM TV campaign spots; the extended Coachella version of the "Get Lucky" promo featuring Pharrell Williams and Nile Rodgers.

~ Columbia Records

 

Thursday, October 24, 2013

REGINA CARTER SIGNS TO SONY MASTERWORKS; NEW ALBUM "SOUTHERN COMFORT" DUE 2014

Virtuoso jazz violinist Regina Carter has signed with Sony Masterworks. The label will launch her new album Southern Comfort in March 2014 coinciding with tour dates in the U.S. and Europe.

Regina Carter draws from a diverse well of influences that include classical, jazz, Motown swing, funk, world music among others. Over a span of more than two decades, she has established herself as an enduring and creative force in jazz, thanks to a string of highly acclaimed solo and collaborative recordings, a prestigious MacArthur Fellowship and a relentless tour schedule that has taken her to all corners of the globe.

On Southern Comfort, the Detroit native continues the investigation of her family history which stems from West Africa, Finland, Eastern Europe and the U.S.  Through a blend of folk songs and spirituals, she interprets her roots through a modern lens.  Carter began this journey on her 2012 album Reverse Thread which was a celebration of traditional African music re-imagined for violin, accordion, bass, drams and kora (African harp).

"We're tremendously pleased to have the incomparable Regina Carter with us at Masterworks.  Her musical odyssey has been charted through a series of unforgettable recordings over the years and Southern Comfort is the latest and perhaps the most eloquent expression of her deep and profoundly enlightening musical humanity," says Chuck Mitchell, Senior Vice President, Sony Masterworks U.S.
Sony Masterworks comprises the Masterworks, Sony Classical, OKeh, Portrait, Masterworks Broadway and Flying Buddha imprints. 

www.sonymasterworks.com
www.reginacarter.com
twitter: @regina_carter
facebook: regina-carter


NEW RELEASES - HRISTO VITCHEV / LIUBOMIR KRASTEV, DEE C'RELL, BENJAMIN SIKSOU & THE HORNDOGZ

HRISTO VITCHEV / LIUBOMIR KRASTEV - RHODOPA

With their 'Rhodopa" project, modern jazz guitarist and composer clarinetist Liubomir Krastev create a beautiful sonic pairing of the extremely emotional and lyrical Bulgarian folklore and the multi-dimensional and deeply textured world of modern jazz harmony. Their self-titled debut album "Rhodopa" features exciting new arrangements of old Bulgarian folk melodies as well as some new originals by the guitarist.  


DEE C'RELL - THE PARIS SESSION - LIVE

The Paris Session - Live is taken from the successful live performances by Dee C’rell. The double A-side is a mixture of minimal techno, jazz, and electroacoustic treatments. Dee C’rell has become increasingly established worldwide within electronic jazz related music, and The Paris Session – Live is a unique view into the world of his current live performances.On the first track " Don’t Ever Leave Myself I" features Dee C’rell using electronics, the piano, and Rhodes in live performance. Embracing 4/4 rhythms, which Dee is intrinsically connected to; he manipulates and treats audio and acoustic instrument with subtle precision, using influences of jazz, electronica, and dance related music making practices. Don’t Ever Leave Myself I is a welcome return to some of the more progressive dance music elements of Dee C’rell’s music, whilst capturing much of the composition methods that is found in Dee C’rell’s previous music releases. Track 2 - " Letters from Chicago" - Since his iconic remix of Jocelyn Brown’s I like It Like That, under the name of Drum Whispers, which was released within the Chicago house scene in the 1990’s, Dee C’rell has maintained his love and admiration for the electronic music scene from the city of Chicago. Fusing instruments and electronics within live performance, Letters from Chicago pays homage to music that greatly inspired Dee C’rell. Letters from Chicago is a combination of jazz, contemporary music, electronics, and Chicago house. ~ music.www.deecrell.com

BENJAMIN SIKSOU & THE HORNDOGZ

What happens when you put 2 artists that never met before together in the studio for 1 night? Benjamin Siksou and The Horndogz teamed up for the first episode of this musical experiment called “One Night Stand sessions”, recording 2 tracks together to be released alongside 2 tasty remixes on super limited edition maxi 12″ EP and digital download on  Sep.23rd via Uptone Records.Though an almost 20 year gap separates them, both Benjamin Siksou and The Horndogz share a common passion for Afro-American music and funk & soul, making the result of this encounter something that is sure to delight lovers of the contemporary black music scene. Putting their own twist on the little known Serge Gainsberg gem “Lavabo” and composing original cut “Cab Calloway’s Flow” with 8 hands as a nod to the famous master from Harlem, the result of this little enterprise is quite fresh and surprising. The EP also contains 2 remixes of “Cab Calloway’s Flow”, by Asagaya and Jim Dunloop, out now in all the best stores! ~ willworkforfunk.com


NEW RELEASES - DONNA SUMMER, LEW KIRTON, EARL CARTER AND THE FANTASTIC SIX

DONNA SUMMER - LOVE TO LOVE YOU DONNA

Contemporary remakes of classics from Donna Summer – a whole host of classics from her landmark 70s disco years, served up here with lots of 21st Century touches! Donna's vocals are sublime no matter what the setting – and given that many of these cuts were originally done with electro genius Giorgio Moroder, they turn out to be a perfect batch of material for new work on keyboards, cuts, and mixes. Some tunes preserve a bit more of classic disco vibe, others bring in a lot more house and techno – and titles include "Love To Love You Baby (Giorgio Moroder rmx)", "Hot Stuff (Frankie Knuckles & Eric Kupper as director's cut signature rmx)", "Dim All The Lights (Duke Dumont rmx)", "MacArthur Park (Laidback Luke rmx)", "I Feel Love (Benga rmx)", "Last Dance (Masters At Work rmx short)", "On The Radio (Jacques Greene rmx)", "Bad Girls (Gigamish rmx)", "I Feel Love (Afrojack rmx)", "Working The Midnight Shift (Holy Ghost rmx)", and "Sunset People (Hot Chip dub edit)" – plus the track "La Dolce Vita" by Donna Summer & Giorgio Moroder.~ Dusty Groove

LEW KIRTON - JUST ARRIVED

Great work from this oft-overlooked smooth soul singer! Lew Kirton was part of the Miami soul scene that centered around TK Records in Florida – but he has a smooth sexy style that reminds us a lot more of northern modern soul singers – especially the most sophisticated side of the New York scene! This debut could easily stand next to late 70s material by Roy Ayers, or some of the best by Leroy Hutson – with some slight deep soul elements that might recall material by Sam Dees or Prince Phillip Mitchell. Like all those references, Kirton has a great way of grooving, but still hanging onto a deeper, more personal style in the lyrics. The songwriting is wonderful, a perfect match for Lew's deep vocals – and titles include "Something Special", "Why Should I Get Jealous", "Love I Don't Want Your Love", "Time To Get With It", and "Love Secret Agent". ~ Dusty Groove

EARL CARTER AND THE FANTASTIC 6 - I WANT TO MAKE IT WITH YOU

Wonderful work from a group who are equally great on the funky tip, and on the mellow side of the spectrum – a small southern combo from the mid 70s, but one with a feel that's a lot more like some late 60s funky 45s! The funky cuts are almost all originals here – handled by Earl with a style that borrows from James Brown, but strips things down a lot more too really going for a gritty groove that lives up to the raw spirit of the image on the cover! Mellower moments have this great fragile quality – clearly inspired by New Jersey soul groups of the early 70s, even when the tunes are more familiar hits. Funky numbers include "Set Me Free", "Shake Your Poo Poo (parts 1 & 2)", and "Start Cooking" – and other cuts include "Make The World Go Away", "Open Up My Heart", and "Make It Easy On Yourself". CD features two bonus cuts – 45 versions of "Open Up My Heart" and "Shake Your Poo Poo". ~ Dusty Groove


PIANIST/COMPOSER HELEN SUNG’S 'ANTHEM FOR A NEW DAY' PLANTS HER FLAG FIRMLY IN THE JAZZ LANDSCAPE

Pianist/composer Helen Sung has an announcement to make. In fact, declaration might be a more appropriate word. The artist’s musical statement can be heard at the center, literally and figuratively, of her Concord Jazz debut and her sixth album overall. Anthem for a New Day, a ten-song set that positions her at the forefront of a talented and diverse sextet, is set for release January 28, 2014, on Concord Jazz.

“I have been working on and ‘trying on’ different approaches in jazz music,” says Sung, who made the leap from classical to jazz piano in college and began performing in and around Boston and New York before releasing her first album in 2003. “With my previous albums, I was searching, experimenting – not that that ever ends. But this is the first project where I feel the most comfortable with who I am as an artist, where I am as an artist, what I’m doing as an artist. It brings the different pieces of my experience together in a way that’s organic and authentic. That kind of clarity is very exciting.”

Exciting enough for Sung to fly her colors with a sense of conviction that hadn’t existed previously. “When I hear the word ‘anthem,’ I think of flags or banners,” she says. “This album is my way of planting my flag in the ground. The journey continues, but at this point, I feel a confidence unlike before.”

Some of that confidence evident on Anthem for a New Day comes not just from Sung’s own diverse experience but from the talented crew backing her on this project: saxophonist Seamus Blake, trumpeter Ingrid Jensen, bassist Reuben Rogers, drummer Obed Calvaire, and percussionist Samuel Torres (saxophonist John Ellis also lends his bass clarinet on a tune). In addition, guest artists Regina Carter (violin) and Paquito D’Rivera (clarinet) make outstanding appearances.

Sung also shook things up a bit with her own instrumentation. “Along with the piano, I played Rhodes as well, which I haven’t done on my previous albums,” she says. “Classical and jazz are the two primary genres I’ve been immersed in since I started playing music as a child. Early on, I played classical concertos and sonatas with their diverse and grand textures; then when I started jazz, in my quest to really swing, I found myself primarily just playing single lines in my right hand while playing chords with my left. Now I feel like it’s all starting to come together – in my playing, my improvisation, my writing, and with my arranging. All of this makes for an album that’s much bigger in terms of the sonic space it occupies.”

She stakes out that territory early on with “Brother Thelonious,” an effervescent opening track with an interesting origin. Sung originally wrote it as the commissioned “theme song” for a Belgian ale of the same name, crafted by the small North Coast Brewing Company located in Fort Bragg, California. “The owners are jazz fanatics, and I got to meet one of them through a connection with the Thelonious Monk Institute of Jazz Performance [Sung is a graduate of the program’s inaugural class when it was housed at the New England Conservatory of Music in Boston]. I had recorded an earlier version of the song for them, but then I revamped it a bit and recorded a stronger version this time, and it became the lead-off track for the album. North Coast is a fabulous outfit. They do so much good – not just for jazz but for a variety of causes.”

The lively “Armando’s Rumba,” a Chick Corea composition, gets plenty of Latin mileage with a minimum of instrumentation. It’s just piano and clarinet – courtesy of Sung and D’Rivera – along with some very organic percussion techniques. “I was excited to contribute some non-piano musical material on this album!” says Sung. “After first laying down the instrumental tracks (clarinet, piano, and cajon), Samuel, Obed, and I then overdubbed the handclaps and foot stomps. It was so fun to work on this piece!”

“Hidden,” a composition by Sung, derives much of its melancholy sensibility from Regina Carter’s stirring violin as well as Ingrid Jensen’s cascading trumpet lines – two voices that establish themselves early in the track. Further in, Sung’s solo work on Rhodes adds a shimmering layer to the entire piece.

Sung indulges her occasionally ironic sense of arrangement in a rendition of “It Don’t Mean a Thing (If It Ain’t Got That Swing)” that includes occasional nods to her classical roots. While the title – and the original intent – of the Duke Ellington classic may have been all about swing, “my arrangement has hardly any swing sections in it,” says Sung. “It was intended to be tongue-in-cheek in that sense. Whether playing live or recording, I’ve always tried to present something familiar in unexpected ways.”

The title track gets under way with a quiet interlude, then segues into a rousing interplay between Rhodes, saxophone, trumpet, and the rhythm section of bassist Reuben Rogers and drummer Obed Calvaire. The result is everything an anthem is supposed to be – energized, unabashed and daring. And in this case, it’s one artist’s declaration of creative identity.

Anthem for a New Day includes a unique reading of Monk’s “Epistrophy” that resulted from a tug-of-war between planning and spontaneity. “I’ve been working on ‘Epistrophy’ for a while and it actually started out as a totally different arrangement,” says Sung. “What a luxury to have musicians who can hang with my tendency to tinker, and that’s kind of what happened in the studio with ‘Epistrophy.’ More than once, we would try something, after which I’d say, ‘No, that’s not it.’ And the band would say, ‘Are you sure?’ Finally we did this take, and I said, ‘That’s it!’ It was awesome to see everyone really ‘get’ the arrangement.”


A solo piano rendition of “Equipoise” closes the album on a note that’s reflective and full of promise. “In some respects,” says Sung, “this album is my way of saying, ‘This is me, take it or leave it,’ instead of something more tentative like, ‘Okay, let me work on it a little more.’ Not that I don’t want to keep growing and developing, but I’m happy to be in a place where I’m more confident about the kind of artist I am becoming. I can’t believe how rare that feeling has been in my experience. That this coincides with the opportunity to release the album on Concord Records is a great blessing, and I’m excited to share it with the world: this is a new chapter, a new day, and I invite you to join me in the celebration of this album and music!”

~ concord music


Wednesday, October 23, 2013

LAURA ANTONIOLI LAUNCHES INDIEGOGO CAMPAIGN FOR NEWEST PROJECT - SONGS OF SHADOW, SONGS OF LIGHT: THE MUSIC OF JONI MITCHELL

Laurie Antonioli is a jazz singer who has garnered a reputation as a true original as well as an innovative collaborator in the sophisticated world of eclectic jazz. With four albums currently in release, she is now soliciting funding through an Indiegogo campaign for her newest project, “Songs of Shadow, Songs of Light: The Music of Joni Mitchell.”

The campaign launched on Tuesday, October 22, 2013 and is scheduled to conclude on Sunday, December 1, 2013. Antonioli is requesting $38,000 in order to cover immediate expenses for recording, mixing, and mastering, with a stretch goal of an additional $19,000 to cover promotion and distribution expenses. Donors can contribute from $10 on up, with “perks,” or rewards for donations, ranging from digital downloads and copies of the new album to rare Joni Mitchell memorabilia. Large-scale donors will receive invitations to special concerts and can even attend the recording sessions at the legendary Fantasy Studios in Berkeley, California.

Although not a household name, Antonioli has indisputably established herself as one of the important jazz singers of her generation. The vocalist that Bobby McFerrin refers to as “truly one of my favorite singers” has decades of experience performing and/or recording with noted jazz artists including Richie Beirach, George Cables, Joe Henderson, and Cedar Walton, as well as McFerrin. With a distinctive style that incorporates elements from other musical traditions as well as jazz—folk, rock, pop, country, and world music—Antonioli’s new album represents a natural extension of her creative body of work, but with strong crossover appeal for contemporary music fans.

Although much of the set list includes familiar Joni Mitchell tunes such as “River” and “Both Sides Now,” the band is also creating an arrangement for a relatively unknown song, “Eastern Rain,” which Mitchell performed but never recorded.

Antonioli and her band have been performing their Joni Mitchell arrangements at all the major jazz venues in the Bay Area, to overwhelming response. “We’re seeing new faces in the audience—people who want to hear Joni’s music,” explains Antonioli. “We’re doing something that people understand and want to hear, not just music for the niche market we’ve inhabited for most of our careers. This is music for everyone. We knew we were on to something and that we had to get into the studio and record so that we could share this music with everyone.”

Antonioli’s band is made up of first-call musicians from the San Francisco Bay Area: Matt Clark (piano), John Shifflet (bass), Jason Lewis (drums), Sheldon Brown (reeds), and Dave MacNab (guitar). Guest artists for the recording include Grammy-nominated vocalist Theo Bleckmann and multi-reed instrumentalist Paul McCandless, a three-time Grammy Award winner who plays oboe, bass clarinet, English horn and soprano saxophone and who is best known for his work in the pioneering jazz group “Oregon.”

“Songs of Shadow, Songs of Light” will be recorded in mid-December, with a planned release date of spring 2014. For more information, visit igg.me/at/SongsofShadowSongsofLight or lauriantonioli.com.




ANGELIQUE KIDJO TO RELEASE "EVE" IN JANUARY 2014

Angelique Kidjo, the Benin born, Grammy Award winning singer/songwriter has signed with 429 Records and is gearing up for an incredible 2014.  She's preparing for the release of Eve, a vibrant new collection of songs dedicated to the power of African womanhood, particularly those women she grew up with in her native Benin; as well as planning a tour of the United States and promoting the release of her autobiography, Spirit Rising: My Life, My Music.  Produced by Patrick Dillett (David Byrne, Fatboy Slim), Eve, named after her mother, is a joyous musical ode to the pride, beauty and strength of African women and their worldwide socio-cultural influence.  The recording showcases Kidjo's extraordinary musical vision as realized by remarkable players as well as women's choirs from several African villages in Benin and Kenya singing in a wide array of native Beninese languages including Fon, Yoruba, Goun and Mina.  Joining Kidjo is an exciting mix of new and well-known musicians including Dr. John, Rostamm Btmanglij (Vampire Weekend), The Kronos Quartet and the Orchestra Philharmonique du Luxumbourg.  Anchoring the album are guitarist Lionel Loueke, drummer Steve Jordan, bass great Christian McBride and Senegalese percussionist Magatte Sow.  The singer is releasing Eve in conjunction with the release January 7th of Spirit Rising: My Life, My Music, an autobiography written with Rachel Wenrick and published by Harper Collins. Angelique Kidjo's Eve will be released on 429 Records January 28th.

Kidjo's accolades include a 20 year discography, thousands of concerts around the world and being named "Africa's premier diva" (Time Magazine) and "the undisputed Queen of African Music" (Daily Telegraph). Kidjo's 2008 recording Djin Djin won a Grammy for Best Contemporary World Music Album and her last studio recording Oyo was nominated in the same category.  She has enjoyed a long history of notable collaborations with greats from the jazz and pop worlds—including Carlos Santana, Bono, John Legend, Josh Groban, Peter Gabriel, Branford Marsalis, Dianne Reeves, Roy Hargrove and Alicia Keys. In an expansive career marked as much by extraordinary musical achievement as passionate advocacy and philanthropy for her homeland of Africa, Angelique Kidjo has found many ways to celebrate the rich, enlightening truth about the continent's women beyond the media spotlight.

Says Kidjo: "I've spoken for many years about the beauty of African women, and I don't need to talk anymore about it because on this recording I am letting the voices of the women show their beauty to the world," she adds. "Eve is all about showcasing the positivity they bring to their villages, cities, culture and the world."

Eve track listing:

1.M'Baamba (Kenyan Song)
2.Shango Wa
3.Eva (featuring ASA)
4.Interlude:  Agbade
5.Bomba (featuring Rostam Batmanglij)
6.Hello (featuring Trio Teriba)
7.Blewu
8.Kamoushou
9.Kulumbu (featuring Dr. John)
10.Interlude: Kletedjan
11.Ebile (featuring Kronos Quartet)
12.Awalole (featuring the Orchestre Philharmonique du Luxembourg)
13.Bana (featuring Yvonne Kidjo)
14.Orisha
15.Interlude: Wayi

16.Coari


NNENNA FREELON & THE JOHN BROWN BIG BAND

Christmas, the first recording for Nnenna Freelon backed by the John Brown Big Band, features fresh, brand new arrangements on classic tunes, and is sure to keep you swingin’ for the holidays!

Nnenna Freelon’s mother was a lover of Christmas—the story, the anticipation, the excitement, but most of all, the gathering of her family around her. In her passing, she left her daughter with a gift that has resulted in a dream fulfilled and a holiday album that will extend a mother’s love of Christmas to listeners everywhere.

Venerated jazz vocalist and six-time Grammy nominee Freelon had long wanted to record a holiday album, but couldn’t garner enough interest from her label. So she did what most people do in need of a little help, she turned to a loved one. With a small inheritance received from her mother, she approached John Brown, a long-time member of her musical family, director of Duke University’s jazz program and leader of John Brown’s Big Band. The two, who have shared the stage and collaborated often during their twenty-year friendship, have now joined together to release Christmas, a selection of holiday songs. Brown produced the album and will release it on his own label, Brown Boulevard.

For Freelon, Christmas has always been a time of church and family, “The secular and the sacred were all a part of the celebration. And I love that it’s the one holiday where singing is in the forefront. The music is part of the celebration and definitely one of the elements that make the holidays special. The songs bring up memories of family, childhood, traveling, good food—the parts of the season that warm the heart and the home.”

Her favorite holiday albums have always been big, brassy creations from artists like Ella Fitzgerald and Nat King Cole. She certainly could have created an album that mirrored the vibes of these Christmas classics, but that was not her artistic vision or her personal style. Freelon has built a career on looking at standards from a non-traditional point of view. And since no body of material has been covered more than holiday music, the songs proved to be the perfect setting to stretch Freelon and Brown’s abilities to explore new arrangements and present new takes on traditional songs.

The two artists made their lists of possible tracks independently (both of which she describes as “very, very long!”) then worked together to narrow them down. According to Freelon, deciding which songs to include was sort of like cooking a holiday meal, “You assemble everything, start throwing things together, and as a dish starts to take shape, you taste and see what it needs. You might take something out or put a little more in, until finally you come up with a combination that feels right.”

The final ten songs are an eclectic mix of classic and modern, secular and non-secular and one track that while never considered a holiday tune, has been creatively transformed into one.

If anything proves the spirit of Christmas lives in the heart with no regard for the month on the calendar or reading on the thermometer it is this—when Freelon, Brown and John Brown’s Big Band arrived at legendary music man Mitch Easter’s Fidelitorium Studios in Kernersville, NC, the state was experiencing its hottest summer on record. So with temperatures soaring, Freelon and the band began the work of conjuring a musical family Christmas in June.

The album kicks off with “Swingle Jingle Bells,” a new way to dash through the snow even more quickly thanks to a brisk arrangement by legendary saxophonist Frank Foster. Foster, who passed away during the album’s production, was close to both Freelon and Brown. According to Freelon, “Swingle Jingle Bells is incredibly special to me because Frank is no longer with us, and we had no idea that would be the case at the time. So it’s very special that we will always have this piece of his spirit with us.” After his passing, Foster’s widow entrusted his life’s work to Brown’s jazz program at Duke University as she felt, in his hands, Foster’s legacy would be secure and his work continued to be heard.

The album transitions into “Spiritual Medley”, which opens with “Children Go Where I Send Thee” and Freelon backed only by a drummer until John Brown drops in on the upright bass. The drums, bass and her vocals build and welcome the rest of the band to the track as Freelon transitions seamlessly into “Go Tell It On The Mountain” followed by snippets of “O Little Town Of Bethlehem,” “Joy To The World” and “Angels We Have Heard On High.”

“Let It Snow” follows, starting with a few light musical flakes and quickly building to a flurry of swinging horns. Freelon and Brown move on to Vince Guaraldi’s “Christmastime Is Here” in a nod to a more recent childhood holiday classic.

Freelon, mother to three grown children, remembers well the excitement and exhaustion that comes along with the holidays for many parents. “I am very well acquainted with early Christmas mornings and tucking sleepy children in bed the night before, who in their excitement keep acting like Poppin’ Fresh Dough—jumping out of bed at all hours looking to see if Christmas has arrived.”

She took these memories and transformed a standard she’s loved for years—Duke Ellington’s “I Love The Sunrise.” Freelon added an intro and outro to turn the song into a beautiful tribute to the dawn of Christmas day.

“The song struck me as perfectly expressing the sentiment of sleepy parents assembling toys until the wee hours and the sleepy children restless in their beds wondering if their Christmas dreams will come true the next morning. I knew that it was not a traditional choice for a Christmas album, but felt like it expressed the energy, anticipation and excitement that surround Christmas morning,” says Freelon.

Freelon believes an added level of excitement and anticipation has been a part of the Christmas celebration since the very beginning and the next two tracks (“O Little Town of Bethlehem” and “Little Drummer Boy”) reflect that sentiment. “People traveled to Bethlehem because they heard something wonderful happening. Just like today, we travel home for the holidays to celebrate traditions old and new. The holidays are a time of expected traditions, but also of surprise,” Freelon expressed.

And Freelon definitely unwraps a few holiday surprises. It takes musical guts to put a new spin on Christmas classic like “Silent Night.” But Freelon’s bluesy vocal styling and a big dose of Hammond organ, breathe new life into one of the greatest holiday songs of all time, turning it into an unexpected toe tapping, head bobbing good time.

According to Freelon, “We want folks to come away feeling the real friendship that was present in the studio in the way the vocalist and musicians mingle, support and complement each other in the recordings.” Nowhere is that more evident on the album than on “Baby, It’s Cold Outside.” “John’s debut as a vocalist creates a track where we have fun with each other as only old friends can,” she said.

The surprises continue on “I’ll Be Home For Christmas,” which turns the slow Bing Crosby standard into a joyful New Orleans style romp. Freelon believes their version resembles a gift whose contents are unexpected, but really, really appreciated, “Sort of like, Oh, wow! You shouldn’t have! But I’m really glad you did!”

So in a season that Freelon believes is all about love and home, she and Brown are busy establishing new holiday traditions. The two have concerts scheduled in Durham, Charlotte, Greensboro and Washington D.C. in the weeks leading up to Christmas. They hope these holiday shows will become annual events that allow them to share their music throughout in North Carolina and the southeast.

In summing up the experience of making Christmas, Freelon said, “It was such a gift to be able to have done this [album]—a gift for my mom for giving me the means to do it, a gift to share those moments in Kernersville with the musicians, and a gift John and I were able to give one another other. The ability to put this record out for friends, families, fans and folks we know will dig it is a gift we can pass on. It truly exemplifies the spirit of the season in gifting and receiving. It’s a beautiful thing.”


“I’m also proud the album is a North Carolina born and bred experience. I’ve made records in a lot of different places, but to be able to make the record in my home state with a wonderful friend and great musicians was truly an honor. Excellence in the arts is everywhere in North Carolina. The state is emerging as a place that not only nurtures the arts, but also helps them to flourish and I’m very proud of that.”

~ brownboulevard.com


GUIDA DE PALMA AND JAZZINHO - VELUDO

The stellar line up of musicians on this outing include some of the best Soul and Jazz musicians on the planet, a veritable who's who of quality musicianship and consists of members of (or collaborators with) the likes of Incognito, Eric Clapton, Jamiroquai, Amy Winehouse, Sting, Nathalie Cole, Brand new Heavies, etc. The album starts with a duet t with Motown legend Leon Ware. Ware  wrote and produced Marvin Gaye’s concept album “I Want You” and also “I Wanna Be Where You Are” for Michael Jackson and “Body Heat” with Quincy Jones, among others. 

With a unique voice full of sensuality and strength, Portuguese born, and classically trained singer Guida de Palma can soar in high notes just as easily as when she is singing Bossa Nova tunes. At times she will make you think you are listening to Flora Purim or even the soul sounds of The Emotions. Nevertheless, she claims as her major influences names such as Stevie Wonder, Chaka Khan, Joyce, Chico Buarque, Marcos Valle, Gilberto Gil, Elis Regina, Azymuth and Ed Motta.

Guida de Palma was only sixteen when bass legend and fallen angel Jaco Pastorius hopped on stage to join her during her very first gigs in Paris. Blessed by this almost divine collaboration, Guida went on singing her way onto various stages across Europe. With her crew of Latin Funketeers, she played support to prestigious performers ranging from Cab Calloway, Defunkt and Gilberto Gil. Freshly arrived in the UK, and alongside prestigious names like Tina Turner, Terence Trent d’Arby, Lala Hathaway and Chaka Khan, Guida featured in the BEF’s “Music of quality and distinction”.

She also joined Californian sax player Ronnie Laws for his European tour, culminating in Montreux Jazz Festival’s rapturous closing night. Also involved in production, Guida, a certified sound engineer, assisted legendary producer Juni Morrison of P Funk and Ohio Players fame in recording tracks with George Clinton. After working with Dodge City Production, DJ Dorfmeister, Dzihan & Kamien, DJ Disciple and Boyz from Brazil, Guida has evolved from a pure live performance mindset to one of club culture.

Jazzinho, for those not familiar with the Portuguese language structure, is a hybrid word deriving from Jazz and the Portuguese suffix, “-inho” which denotes small.

Tracks: A Seed in you - Feat. Leon Ware / Abraço da Bossa / Papão / Autumn Monsoon / April's Fool / Celebration / Whispers In The Darkness / Ready To Feel Again.




KEVIN COEHLHO - TURN IT UP

Young Hammond B3 organ whiz Kevin Coelho earned renown for his outrageously precocious debut album, 2012's Funkengruven - the Joy of Driving a B3, which he released at age 16. JazzTimes called Funkengruven "an auspicious debut" with "the essence of funk and groove," while All About Jazz described it as "both viscerally moving and intellectually satisfying." For all the praise for his initial recorded effort, Coelho has taken man-sized strides with his second album, the aptly titled Turn It Up, to be released October 8, 2013, via Chicken Coup/Summit. A feast for fans of vintage sounds, Turn It Up finds Coelho - now 18 - venturing a brace of organ-trio classics ("Georgia on My Mind," "When Johnny Comes Marching Home," Jimmy Smith's "Root Down"). Yet the already-enterprising organist also puts a funky soul-jazz spin on the Beatles' "Come Together," War's "The World Is a Ghetto" and even Prince's very first single, "Soft & Wet." That's not to mention two playful, swinging Coelho originals. For the sessions, the organist reunited with guitarist Derek DiCenzo and drummer Reggie Jackson, his partners from Funkengruven and also the usual trio mates of Coelho's mentor, B3 master Tony Monaco, who says about his protégé: "Kevin is a fascinating, brilliant young musician who is growing up fast."

With his new album, Coelho was "chasing a club vibe," he says. "The organ in jazz is a club instrument, after all, having gotten its start on the Chitlin' Circuit. That's why I called it Turn It Up, because the record was meant to have that dancing spirit, that groove-to-the-music, turn-it-up vibe. While making this album, I wanted it to be fun - to make music that people would put on in the car for a long drive or something you'd play when you've had a hard day and want to feel better. Take 'Come Together,' 'The World Is a Ghetto' and 'Soft & Wet' - they're the kind of songs that people really connect with and jam out to. The original versions were very grooving and melodically compelling, so it felt easy to incorporate them into the organ-trio world, transforming them a bit but trying to retain the essence of what makes people feel good - because when listeners feel good, that makes me feel good as a musician."

Coelho has evolved as a musician in just the two years since his first release, he says: "I've grown and grown up. Making the first album, I was highly influenced by Tony Monaco - learning at his elbow was a wonderful process. He's a real master of the instrument. But with this new album, I'm more of my own man. I was freer with the instrument, freer to explore different aspects of it. And I approach the tunes with more of an arranger's mind now rather than just as a player. The arrangements are far tighter on this album and subtler, with more detail but also more arc and flow."

As a trio, Coelho, DiCenzo and Jackson had more gigs under their belts by the time it came to record Turn It Up, the organist points out: "We were tighter as musicians and as people. I'm a lot more attuned to what Reggie's feel is now, so I'm better at anticipating what he's going to do rhythmically. He really knows how to drive the music - his time is so solid. Even if he does some crazy polyrhythmic thing, he always brings it back to the '1.' Derek is all about feel and atmosphere. He thrives on a vibe. I've never heard him play the same thing twice - he's always throwing something different at you. Working with him has made me a better player, and I know now how to give him more space to do his thing."

Along with his organ-trio work, Coelho has joined the Bay Area soul-funk band the St. Valentinez as a keyboardist, with the group playing everything from Stevie Wonder to Jay-Z. "They're an incredible group and playing with them has really expanded my world," he says. "I spent all my years as kid studying old jazz and records from the '60s and '70s, but thanks to these guys, I've been listening to a lot more modern R&B, rock and neo-soul, which has given me fresh ideas beyond the soul-jazz idiom. Plus, headlining clubs in the Bay Area with the St. Valentinez has made me think differently about life as a musician. There are two paths, basically. You can aim to fulfill your own intellectual curiosity with music, pursuing a vision that satisfies your creative drive first. Or you can play music for others, for an audience - in other words, be an entertainer. Of course, it's all about balancing the two sides, experimenting and entertaining. Today, though, I'm leaning toward playing for an audience, thinking about what I'd like to hear as a listener and hoping that other people dig it, too. That was the aim with Turn It Up - I want people to dig it."

Coelho, who was born on August 29, 1995, started studying classical piano at age 6. He fell in love with the sound of the Hammond B3 when he first heard a recording of "Green Onions" by Booker T & the MGs, and he eventually graduated to adoring the records of jazz organists Jimmy McGriff, Jimmy Smith and Don Patterson. Coelho began his jazz and organ studies at age 11; along with Randy Masters and Tony Monaco, his jazz teachers include noted Bay Area Hammond B3 player Wil Blades and keyboardist Peter Horvath. The young musician has also had master classes with Larry Goldings and Bennet Paster, among others. In 2010, Coelho attended and performed at the Eastman School of Music Summer Jazz program as a rare freshman to be admitted. He participated in and performed at the Stanford Jazz Workshop for seven years running, winning the Outstanding Soloist award multiple times. He was also honored with the prestigious Shape of Jazz to Come award and the Merit Scholarship. Previous winners of the scholarship include Julian Lage and Taylor Eigsti. Coelho performed at the San Jose Jazz Festival in 2011 and 2012, and also played in the Stanford Jazz Festival in 2011 and 2013 with Robben Ford and Henry Butler respectively. Over the past few years, he has played clubs and corporate events across the country with such musicians as Akira Tana, Jason Lewis, Chester Thompson, Darrell Green, Nicholas Payton, Donald Harrison Jr., Brian Pardo, Bruce Forman, Barry Finnerty, Calvin Keys, Brandon Etzler and Joe Cohen among others.  Along with headlining Bay Area clubs such as Slims and the Milk Bar as keyboardist with the band St. Valentinez  (which he also manages) and performing some of the Bay Area's best venues with his organ-trio, Coelho is a freshman at Stanford University, studying computer science.

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