Tuesday, March 18, 2014

LOUIS ARMSTRONG - ICON 2

The man they call “Satchmo” is a beloved American musician who the term icon fits like one of his silky smooth melodies. The New Orleans trumpet player was a foundational influence on jazz, shifting the focus from improvisation to solo performance. With his instantly recognizable, gravelly voice, he demonstrated remarkable dexterity and an unparalleled ability to scat like his contemporary Ella Fitzgerald. He was one of the first African-American performers to achieve success with white audiences, and this 2-CD ICON compilation spotlights some of his most well-known performances, including his signature, GRAMMY® Hall of Fame songs, “What a Wonderful World,” “Mack the Knife,” “West End Blues,” and “Hello Dolly,” as well as collaborations with Ella Fitzgerald (“Our Love Is Here to Stay,” “Summertime,” and “Dream a Little Dream of Me”) and Louis Jordan ”You Rascal You (I’ll Be Glad When You’re Dead”).

Disc 1
1. What a Wonderful World
2. Hello, Dolly!
3. Nobody Knows the Trouble I’ve Seen
4. Our Love Is Here to Stay (with Ella Fitzgerald)
5. Summertime (with Ella Fitzgerald)
6. On the Sunny Side of the Street
7. When You're Smiling (The Whole World Smiles With You)
8. Mack the Knife (Live From Jazz at the Hollywood Bowl)
9. (When We Are Dancing) I Get Ideas
10. A Kiss to Build a Dream On
11. La Vie En Rose

Disc 2
1. Dream a Little Dream of Me (with Ella Fitzgerald)
2. You Rascal You (I'll Be Glad When You're Dead) (with Louis Jordan)
3. That Lucky Old Sun (Just Rolls Around Heaven All Day)
4. Blueberry Hill
5. I Wonder
6. When It's Sleepy Time Down South (Instrumental)
7. West End Blues
8. Jeepers Creepers
9. When the Saints Go Marching In
10. Struttin’ With Some Barbecue
11. Swing That Music 


NEW RELEASES: THE FLOACIST - RISE OF THE PHOENIX MERMAID; OTIS TRIO - 74 CLUB; PIERRE DORGE & THE NEW JUNGLE ORCHESTRA - TJAK TJAKA TCHICAI

THE FLOACIST - RISE OF THE PHOENIX MERMAID

The title's really evocative here, and so is the music – maybe the strongest solo moment we've heard from Floacist so far! The tunes have a sensual quality that grabs us right away – not cloying, commercial romantic modes – but a laidback, personal, positive vibe that's produced with just the right sort of subtle touches by Chris Davis – who keeps things in just the right mellow space for the easygoing vocals! Keyboards round out the sound with just the right sort of tripped-out lines – working perfectly, whether the lyrics are spoken or sung – and titles include "Womyn", "Mami Loves You", "Try Something New", "Doing This", "Good Love", "Wisest Thing", "Feel Good", and "Grandma". ~ Dusty Groove

OTIS TRIO - 74 CLUB

A very cool combo from contemporary Brazil – a trio who work with guitar, bass, and drums at the core – but open up plenty of space for extra work on vibes, tenor, soprano, trumpet, and trombone! The vibes are especially great – and feature on almost all the tracks here – ringing out with these sharp tones that really match the energy of the trio, especially the raspy tone of the guitar, which seems echoed in its own metallic tones. The music has a hard edge – not bossa jazz or Brazilian fusion at all – but instead this really creative style that really puts the rhythm at the forefront, but in ways that are very complex and seem to direct all the other instrumentation as well. At times, the drummer's got a way of echoing the feel of a larger batucada with his snapping snare – and titles include "No Oceano", 'Dnn", "Quarta Feira Santa", "Funky Groove", and "Sophisticated Junkie". ~ Dusty Groove

PIERRE DORGE & THE NEW JUNGLE ORCHESTRA - TJAK TJAKA TCHICAI

Pierre Dorge pays tribute to the late reedman John Tchicai – a frequent musical partner over the years, and a player who's shaped the sound of countless others on both sides of the Atlantic! Tchicai got his start with Archie Shepp on the New York scene of the 60s, but moved over to Denmark by the end of that decade – and ended up having a good deal of interaction with guitarist Pierre Dorge in years to come, including performances on some of the best sessions by the New Jungle Orchestra! This album really recalls those great ones – as Dorge chooses tunes that seem to have an especially spiritual flavor, and evoke Tchicai in ways that most of the group's recent work might not have – using especially strong passages from reed players who include Jakob Mygind on tenor and soprano, Anders Banke on tenor and bass clarinet, and Morten Carlson on tenor and taragot. Titles include "Mozombo", "A Rufous Mot Mot", "Jungle Sketches", "Autobahn Tchicai Zwei", "Lucianus In Congo", and "Tjak Tjaka Tchicai". ~ Dusty Groove


Thursday, March 13, 2014

SHANACHIE ENTERTAINMENT ENTERS INTO EXCLUSIVE AGREEMENT WITH INDYMUSIC, YOUTUBE'S LARGEST MUSIC NETWORK

C elebrated and world-renowned independent record label Shanachie Entertainment is pleased to announce their exclusive partnership with leading YouTube multi-channel network INDMUSIC. INDMUSIC will be focused on enhancing Shanachie’s existing YouTube channel and content while capitalizing on Shanachie’s eclectic and diverse catalog of music. “We’ve been searching for the right YouTube partner for some time” says Rick Rosenberg, Shanachie’s SR. VP, Sales & Marketing/Digital. “After meeting with INDMUSIC executives Brandon Martinez and Arshan Shadri, I knew that INDMUSIC had the independent spirit to match Shanachie, while also possessing the skills and knowledge to make sure we are maximized in the growing and changing space that is YouTube. We are excited to be working with INDMUSIC.”

“YouTube is a difficult platform to navigate for so many labels especially as they work with such robust catalogs of artists.  As experts in monetization and the proper asset management, labels we've been working with find tremendous value in our approach to YouTube strategy," states INDMUSIC CEO Brandon Martinez. "Shanachie has a tremendous history and an excellent roster of talent and we're looking forward to teaming with them on engaging those best practices to collectively take both of our businesses to the next level."

From an upstart purveyor of traditional Irish music, Shanachie Entertainment has evolved to become one the of the most respected and diverse record labels in the music industry. Shanachie’s recordings have covered virtually every corner of the globe, unearthing gifts from many of the world’s greatest artists who may never have been heard by the masses were it not for their recordings. On the verge of celebrating its 40th Anniversary, Shanachie continues to flourish bringing a unique combination of musical quality, marketing and promotion expertise and  personal attention to an ever-growing roster of special artists. Their eclectic roster and rich catalog spans every genre from R&B, Jazz, Reggae, Rock and Blues to Folk, World Music, Country, Gospel and beyond. Their artists have been featured on esteemed programs as “The Today Show,” “Good Morning America,” “The Tonight Show,” “The View” and NPR among numerous other national outlets. With a string of commercial Radio hits, numerous Grammy wins and other prestigious industry recognition, Shanachie also has a video division, with over 150 titles including acclaimed documentaries and concert performances.

INDMUSIC is YouTube’s largest independent music network with over 3.5B video views to date across its 1300 artists and labels including Mad Decent Records, Stones Throw Records, Robbins Entertainment, Okayplayer, Brendan Benson, Major Lazer and Soul Khan. Music on YouTube currently has poor monetization due to fractured rights’ issues - INDMUSIC solves this problem by specializing in optimization, monetization and analysis of YouTube distribution strategies for independent music content creators. INDMUSIC helps its partners monetize YouTube views without sacrificing creative control or rights to their content. The company was instrumental in claiming thousands of User Generated videos using Harlem Shake, which translated directly into increased digital download sales and generated valuable demographic, geographic and viewer watch habit insights for the artist, label (Mad Decent) and INDMUSIC. Founded in 2011 by Brandon Martinez and Jon Baltz, INDMUSIC is headquartered in Brooklyn, NY.


NEW RELEASES: ELLA FITZGERALD - ICON 2; DEBRA DEBS - LIFE CYCLE; LOCKSMITH - UNLOCK THE FUNK

ELLA FITZGERALD - ICON 2

Dubbed “The First Lady of Song,” Ella Fitzgerald was the most popular female jazz singer in America for more than half a century, earning 13 GRAMMY® Awards and selling more than 40 million albums. Known for her flexible, broad range and scatting ability, Fitzgerald could sing a sultry ballad or sweet jazz with an uncanny skill of being able to imitate every instrument in an orchestra. This 2-CD ICON collection includes some of her greatest hits, including “A-Tisket A-Tasket,” the playful version of the nursery rhyme she recorded in 1938 when she was just 21. That album sold a million copies and went to No. 1 on the charts, making Fitzgerald a household name. Also included are collaborations with Louis Armstrong (“You Won’t Be Satisfied [Until You Break My Heart]” and “Summertime”) and Louis Jordan (“Baby It’s Cold Outside”), as well as two tracks recorded live in Berlin. Tracklisting: A-Tisket A-Tasket; Undecided; Into Each Life Some Rain Must Fall (with the Ink Spots); It's Only a Paper Moon; You Won’t Be Satisfied (Until You Break My Heart) (with Louis Armstrong); That’s My Desire; My Happiness; Baby It’s Cold Outside (with Louis Jordan);. Dream a Little Dream of Me; Smooth Sailing; Airmail Special; You'll Have to Swing It (Mr. Paganini), Parts 1 & 2; Lullaby of Birdland; Take the "A" Train; Summertime (with Louis Armstrong); Someone to Watch Over Me; Love Is Here to Stay; Mack the Knife (Live in Berlin); How High the Moon (Live in Berlin); Blues in the Night; Bill Bailey, Won’t You Please Come Home; and A Fine Romance.

DEBRA DEBS - LIFE CYCLES

A brilliant batch of new millenium soul from Debra Debs! Debra is a London-based, Cameroon-born singer, and Life Cycles is the first full length effort we've heard from her, but it leaves us with little doubt that she'll be around for years to come. This is some of the nicest indie soul we've heard in a while! Her voice is warm and inviting, and she's get a deft hand for memorable songwriting, too – bearing the influence of some of the finer voices of the neo soul generation, as well as the jazzy soul voices of the classic era. The production is flavored by timeless keys and beats, and lots of lightly jazzy instrumental touches. Excellent stuff! Includes "Caught Up", "Clear My Name", "Love Galore", "Fizzy Lemonade" (plus a Felo Le Tee remix) "Daddy", "Blew Your Mind", "Sometimes", "Chasing Dreams", "Blending Colours", "Awake With You", "Africa 'Higher Higher'" feat P. Jericho and "Speeches". ~  Dusty Groove

LOCKSMITH - UNLOCK THE FUNK

The only album ever from Locksmith – a group you might also know for their classic backing work on a few Grover Washington albums of the 70s! This set's got the lineup grooving strongly on their own – in an upbeat blend of jazz, funk, and soul that often has the group's deft instrumentation taking center stage instead of their vocals! Things are mighty sharp throughout – with loads of great bass at the bottom, plus live percussion, tight guitars, sweet keyboards, and some especially great electric violin and snyth from John Blake. Harvey Mason produced the record, with the same tight sound as his own gems for Arista at the time – and Stephanie Spruill sings guest vocals on the sweet stepper "It's You", alongside more upbeat tracks that include "Groove Town", "TMI", "Don't Hurt Yourself", and the especially nice "Blackjack" and "Cinnamon", both of which have a totally sweet jazzy groove. ~ Dusty Groove

 

INTRODUCING AL HAMMERMAN, COMPOSER & LYRICIST

From Steve Tyrell and Patti Austin to Michael Buble and Rod Stewart, contemporary vocal greats love to mine the enduring magic of the Great American Songbook. As brilliant as their choices often are, it’s very possible that if they ever chose to explore other horizons, they just might see that …well, in the words of famed lyricist Carolyn Leigh, “The Best Is Yet To Come.”

If those singers are looking for new songs that embody the exquisite combination of smart, sophisticated, contemporary and classic, they’ve got a fascinating “one stop shop” waiting for them with the fast growing catalog of Al Hammerman. No longer one of St. Louis’ best kept musical secrets, he is one of today’s most versatile and prolific composers. Bringing the lyrical cleverness and melodic infectiousness of songs from those previous times to the contemporary musical landscape, he is renowned as a “songwriter for the ages.”

With innovative, pop/jazz/swing styled songs that evoke both story and emotion, Hammerman’s music captures the style and imagination of legendary composers such as Gershwin, Porter, Berlin and Jobim. Over the past few years, numerous film and TV music supervisors have taken note, placing Hammerman songs in the films “Becoming Santa,” “Demoted” and “The Entitled,” in addition to the shows “The Good Guys” (FOX) and “The Defenders” (CBS). Most recently, the composer’s whimsical “Rather Be Lucky” appeared in “The Incredible Burt Wonderstone,” starring Steve Carell and Jim Carrey.

Adele’s massive success with her breakup oriented 21 and Taylor Swift’s pantheon of ex boyfriend hits notwithstanding, Hammerman says, “I’ve been inspired to write songs by both happy and sad times in my life – but life sure is a lot more fun when you’re happy. I essentially write songs that I would want to listen to and truly love it when people say that my music makes them smile. At the core for me is always a catchy melody and lyrics that are relatable, but perhaps say something that’s been said a million times before, in a fresh new way.”

Creatively speaking, one of the biggest boons to the more cheerful, playful and optimistic side of Hammerman’ songwriting has been his very supportive wife Julia, whom he immortalizes with his charming gentle bossa-flavored song, “Only Julia.”  Other titles reflecting the generally positive spirit where Hammerman’s musical heart dreams these days include “Something About Her,” “Road To Happy,” “Sweet Dreams,” “A Kiss Could Happen,” “Mr. Moon,” “Kiss My Jazz,” “Nothing But Time,” “Falling All Over” and “New Kind of Cool.”

Hammerman has been a powerful musical force and impresario in his native St. Louis since 2006, when as a virtual unknown he gathered some of the city’s best local singers and produced “All New Songs.” This showcase performance of his all-original songs was held at the 700 seat Sheldon Concert Hall, to raise money for the Make-A-Wish Foundation, a charitable organization near and dear to the songwriter’s heart. Make-A-Wish, founded in 1980, grants the wishes of children diagnosed with a life-threatening medical condition in the United States and its territories. Their mission is to enrich the human experience with hope, strength and joy.

 “I have seen firsthand what the power of a granted wish has on these kids’s emotional well being, says Hammerman. “I really wanted to find a way to contribute, besides just giving money, and remembered that I had previously and coincidentally written a song called ‘Make A Wish.’ I had not been in the habit of presenting my songs publically, but decided why not send this one to the Make A Wish Foundation for any potential use. Unknowingly at that same time they were seeking music for a new promotional video, loved my song and thought it would fit perfectly. I was thrilled and with that positive feedback and encouragement, I decided to record a CD of original songs to benefit Make A Wish. Somehow though, as one thing always leads to another, I not only ended up producing a CD but also a full blown live benefit concert of my original songs”.

Hammerman’s first show was so successful that he was invited by the organization in 2006 to co-chair Make-A-Wish’s next gala at the Ritz Carlton, which again featured performances of his original songs. This was followed by a second major benefit concert called “Just Lucky”  in 2008 and a third  called “I Got A Song” in 2011.” In conjunction with each of these three shows, Hammerman released (both digitally and on CD) recordings featuring studio versions of the songs featured in the show.  The CD  I Got A Song includes a live version of “Guys Like Us,” performed as a duet on stage by Hammerman and the very talented Alan Ox.

Recently, Hammerman was asked to participate on the advisory board of a wonderful new St. Louis based children’s charitable organization called “Kids Rock Cancer” – which uses his “I Got A Song” as their promotional theme. Sponsored by Maryville University, Kids Rock Cancer is an innovative music therapy program that helps children successfully cope with the challenges that accompany a cancer diagnosis. Using a portable recording studio, a songwriter assists the hospitalized children as they write and record their very own special song based on their real time emotions, hopes and dreams. Hammerman is currently working on a new live show titled, “My Kind of Music,” to help raise money for the organization. The concert will include many brand new songs from his upcoming fourth CD, which is expected to be released early next year.

Much of Hammerman’s love of “The Standards” stems from the passion of his parents, who played great artist like Frank Sinatra, Tony Bennett and Nat King Cole, as well as musical theater soundtracks, throughout the house during his childhood. He wrote his first piano piece at age eight and took lessons at a conservatory known as the St. Louis Institute of Music through his early adolescence. During his teens, he recalls his Sunday school teacher wanting the class to put on a musical to celebrate the end of confirmation classes; she wanted Hammerman to sing “Luck Be A Lady,” which he did – with lyrics he had completely rewritten!

As he continues to emerge as a songwriter, Hammerman also teaches at the university level and expresses his love and appreciation for musical history in a unique way: collecting antique musical instruments dating back to the 16th Century. Among his historical treasures—which inspire musings about who originally played them—are a harpsichord from the 1500s, a piano from the 1800s and harps from the 1700s.

Hammerman ,who is currently also contemplating writing a stage musical, sums up his passion with the following; “To me, the most exciting aspect of being a songwriter is truly that moment when I finish a song and realized I’ve created something special. At that point no one has heard it and whether it is ultimately successful or not, there’s a great feeling of creativity, originality and accomplishment.”

Al Hammerman is a Composer & Lyricist based in St. Louis, MO.

PAUL TAYLOR - TENACITY

In the 19 years since Paul Taylor first got On The Horn with his hit debut album, he’s enjoyed an extraordinary journey in the contemporary urban jazz world. The key to the charismatic saxophonist’s  success?  Beyond those instantly identifiable sax tones, infectious melodies, cutting edge production, and dynamic live performances, it’s one thing: Tenacity–the perfect title for his latest recording on Peak Records (and 10th overall).

From the start of his recording career, Taylor has created his ever cool deeply soulful and rhythmic trip-hop influenced sound by working with some of urban jazz and R&B’s top producers, including Rex Rideout, Barry J. Eastmond and The Heavyweights. But one of the most important architects of the saxman’s core flow has been Dino Esposito, who helped Taylor establish his vibe with On The Horn and Pleasure Seeker (1997), and has played a powerful role in the saxophonist’s evolution by helming tracks on his subsequent recordings Undercover (2000), his Peak Records debut Hypnotic (2001), Nightlife (2005) and Prime Time (2011).

Tenacity marks the first time ever that Taylor has recorded an entire project with a single producer – and his longtime friendship and incredible chemistry with Esposito made him the perfect choice for the varied rhythms and progressive sonics that the saxophonist wanted.  “I’ve always had this special bond with Dino and it was really exciting to focus on doing an entire project with my great friend, rather than just a few tracks here and there like in the past,” says Taylor.  “I’m always trying to grow as an artist, so there were ideas going all the time as we developed these tracks,” he adds. “I definitely have an established sound, so the key was having an open mind and being honest when we hit on a certain vibe, groove or lick I had done before – and taking the tune in another direction. “

Taylor has a long history of bringing his favorite urban jazz artists to the mix, and he continues that inspiring tradition by inviting keyboardist Jonathan Fritzen to add his lush piano harmonies to the whimsical, easy flowing soprano-driven opening track “Supernova” – which pairs Taylor’s horn with some snazzy “vocalese.” He textures four alto sax tracks behind a colorful lead melody to create the spirited optimism that rolls through the mid-tempo funk of the title track, then shifts from a balmy, tropical feeling to a more urban, trip-hop pocket on the rhythmically diverse “Awakening.” Taylor says, “This one is magical in that it has three distinct melodic parts.”“Spur of the Moment” isn’t just a clever title – it actually conveys the emotion of Taylor’s spontaneous alto lines and they burst forth and dance over a thick, edgy funk-rock groove and dynamic horn texturing. He named “Luxe,” featuring special guest Jeff Lorber on electric piano and guitar, for the luxurious ambiences surrounding his easy swaying soprano, while the tenor-led “Peace of Mind” taps into a coolly rhythmic Paul Hardcastle style as it moves towards a playful, clapping crunch-funk groove behind a swirl of sax and wordless vocals. Esposito turned Taylor onto the recent alternative R&B hit “Wicked Games” by Canadian artist The Weeknd, and he immediately loved it. The saxophonist’s version features a thoughtful alto melody over a hypnotic piano riff and gentle percussion, then a trippy distant “banging” sound; it also features whispery computer generated vocals.

Taylor envisions “Open Road” as the album’s perfect “road trip with a friend, with no traffic and the horizon straight ahead tune:” his alto romps easily over Esposito’s moody old school keyboard sounds, hypnotic grooves and bright brass flourishes. Promising “More To Come,” Taylor’s gentle soprano winds through a serpentine melody and a double time groove that creates a true club flavor a la the popular Swedish DJ/producer Avicii. Tenacity wraps with Taylor looking out over the “Empire” he’s created, forging a unique tension between his alto lead and backing spirited horn textures with Esposito’s dark and moody piano textures. “It’s a tune that makes you think about things,” says Taylor, “looking out at everything you’ve done and savoring the moment.”

Long a mainstay among the most popular and elite artists, Taylor has been on one of the most exhilarating upswings of his career over the past seven years, starting with Ladies’ Choice (2007), which marked his first ever #1 on the Billboard Contemporary Jazz. “Burnin’,” the title track from his 2009 album, hit #1 on the airplay charts, and “Push To Start” from Prime Time (2011), hit the pole position on the Smooth Jazz Songs chart. Prime Time further lived up to its colorful name by reaching the Top Ten on the Billboard Jazz Albums chart.

Over the past few years, Taylor has also been part of two of the genre’s biggest summer tours, Gentlemen of the Night (with Marion Meadows and Warren Hill) and Sax and the City (with Meadows and Vincent Ingala). In December 2012, the longtime basketball enthusiast achieved another longtime dream, performing the National Anthem in Madison Square Garden at a New York Knicks game; their coach Mike Woodson is a longtime fan.

Though the Denver native has lived and worked primarily in Las Vegas since graduating as a music performance major from UNLV, the proximity of his adopted hometown to Los Angeles gave him many opportunities to vibe with R&B and contemporary jazz producers and artists, including Esposito, whom he first met in the late 80s. Taylor played one of Esposito’s sessions at Jeff Lorber’s home studio; a few years later, in 1994, the keyboardist remembered Taylor and asked him to play with him at the Catalina Island Jazz Trax Festival.

Another popular keyboard player, Keiko Matsui, and her producer/husband Kazu liked Taylor’s charismatic performance and soon offered him an audition with their band. He recorded and toured with the Matsuis for two years (appearing on Sapphire and Dream Walk), and Kazu Matsui eventually co-produced On The Horn, which spawned the #1 radio hit “Till We Meet Again.” Taylor’s mix of funk and sensuality were a natural fit for the emerging urban jazz genre, and he soon became one of its core artists. Although Taylor has since been one of the genre’s most popular live attractions as a solo artist, he eagerly accepted Russ Freeman’s invitation to tour with The Rippingtons as a special guest artist in 2000—the year he released his third album Undercover–after Jeff Kashiwa left the group. He later toured as a featured performer with the all-star “Groovin’ For Grover” lineup (including Lorber, Richard Elliot and Gerald Albright) and performed and made his acting debut on the legendary ABC soap opera “One Life To Live.”


With the 20th anniversary of his recording debut coming up next year, Taylor remains a fresh and vital, forward thinking force in contemporary urban jazz. Talent and vision are a given, but sometimes those things fade. It’s his Tenacity that’s made the difference.


THE PETE MCGUINNESS JAZZ ORCHESTRA - STRENGTH IN NUMBERS

A superficial artist clings to the whims of fashion; a genuine artist follows his heart. By staying true to and growing from his original inspirations, the bandleader, composer, arranger, trombonist and vocalist Pete McGuinness has produced a present day masterwork of large ensemble jazz. On Strength In Numbers, the second release from the Pete McGuinness Jazz Orchestra (fourth as a leader for Pete), the leader channels the swinging big bands and iconic modern arrangers that loom large in both the jazz tradition and in his personal pantheon, molding his influences into vibrant, highly personal musical statements. Reconvening a large ensemble that he has led since 2006, McGuinness (a 2008 Grammy finalist for his arrangement of Charlie Chapin's immortal "Smile") enlists a full contingent of top tier NYC players including saxophonist Dave Pietro, trumpeter Bill Mobley and pianist Mike Holober to bring to life original charts whose echoes of Basie, Ellington, Bob Brookmeyer and Gil Evans reinforce McGuinness' inventive spins on what continues to be a vital musical idiom.

"I think of Strength In Numbers as both a next step as well as a return to my roots, " McGuinness says. "I'm a melodist who grew up loving the great post-swing era big bands onward. With a great band of highly experienced and seasoned NYC jazz players, I can now straddle the old and the new, keeping one foot in what I've always loved of genre and one foot striding forward. As long as a composer can write from their own experience, draw confidence from their past while looking forward, and never get so caught up in new effects as to have an agenda, then work that is truly honest-sounding, engaging, and personal can come through. That's at least what I strive for."

In contrast to McGuinness's third album as a leader, the 2013 release, Voice Like a Horn  (which featured a compact small group and focused on his award-winning skills as a jazz vocalist), Strength In Numbers highlights a full force big band, while also finding room for two spotlighted McGuinness vocal features on the tender standards "What Are You Doing The Rest of Your Life?" and "You Don't Know What Love Is," the latter also featuring his expert scatting and demonstrating Pete's admiration for the vocal style of the late Chet Baker, whom he has often been compared with. Swinging charts ("The Send-Off," a sparkling tribute to the acclaimed arranger Bob Brookmeyer, with whom McGuinness studied; "The Swagger," and "Nasty Blues," a tasty nod to Count Basie and Thad Jones) sidle up to more introspective works ("Spellbound," a more latin style number inspired by the rich harmonies of Debussy and Billy Strayhorn; "Trixie's Little Girl," a loving tribute to McGuinness' late mother, and "Bittersweet," the latter two featuring the leader's exquisite trombone statements.)  Of special interest is "Beautiful Dreamer" - Stephen Foster's archetypal gem of 19th century Americana. This McGuinness arrangement originally commissioned by the Westchester Jazz Orchestra recasts the timeless song as a high-energy samba with gleaming solos by Dave Pietro on soprano sax and Mike Holober on piano, ending in a charming duet by the two featured soloists based on Foster's original 1865 piano arrangement.  Bolstered by Pete's two vocal and trombone features, as well as all of his original arrangements presented, the album's variety provides a first rate display of McGuinness as a polymath talent, as well as showcasing the skill of his outstanding band, an ensemble that shares the leader's wholehearted embrace of the joys of big band music.

"With only some minor changes, the members of the PMJO have been with me since the beginning," McGuinness says. "The band is made up of musical associates who have paid dues with me in many of the same bands together, several of who have been friends for decades. For example, I've known and played with our drummer Scott Neumann, whose playing I always think about whenever I compose or arrange for the band, for some 26 years now. You can hear that familiarity in the entire ensemble sound too. We've also been playing the charts that ended up on this album for several years now as well. When the time was right to record, we were ready."

Pete McGuinness has appeared on over forty recordings, including three previous releases as a leader: First Flight (Summit) with the Pete McGuinness Jazz Orchestra which earned 4-stars in DownBeat, Voice Like a Horn (Summit) and Sliding In (Kokopelli). He earned a 2008 Grammy nomination for his arrangement of "Smile" (which appeared on First Flight) and was the first prizewinner of the 2010 Jazzmobile Vocal Competition (judged by the late Dr. Billy Taylor and Barry Harris). A New York resident since 1987, McGuinness studied with Bob Brookmeyer and Manny Albam at the prestigious BMI Jazz Composers Workshop and has performed in the big bands of such acclaimed leaders as Lionel Hampton, Jimmy Heath (featured as a vocalist as well) and Maria Schneider, appearing on her Grammy-winning album, Concert In the Garden. Actively involved in music education both throughout the United States and Europe, McGuinness is currently the Assistant Professor of Jazz Arranging at William Paterson University.


Wednesday, March 12, 2014

THE BEST OF BLUE NOTE: ICON 2

Iconic is a perfect word to describe this legendary jazz label, which is celebrating its 75th anniversary this year. Blue Note has been home to many of the greatest jazz players over the years, including John Coltrane, Thelonious Monk, Bud Powell, Clifford Brown, Sonny Rollins, Art Blakey & the Jazz Messengers, Herbie Hancock, Cannonball Adderley, Wayne Shorter, and Donald Byrd. Some of the label’s latter-day stars, including Cassandra Wilson, Norah Jones, and Robert Glasper are also featured, illustrating how this historic label, now under the leadership of producer/bassist Don Was, continues to stake new ground. This 22-track, 2-CD ICON collection features Blue Note classics like Monk’s “’Round About Midnight,” ‘Trane’s “Blue Train,” and Hammond B3 organist Jimmy Smith’s “Back at the Chicken Shack,” as well as more recent hits including US3’s “Cantaloop (Flip Fantasia),” Glasper’s “Afro Blue” with Erykah Badu, and Jones’ “Cold Cold Heart.”

Disc 1
1. Summertime – Sidney Bechet Quintet
2. ’Round About Midnight – Thelonious Monk
3. A Night In Tunisia – Bud Powell
4. Brownie Eyes – Clifford Brown
5. Blue Train – John Coltrane
6. Tune Up – Sonny Rollins
7. Moanin’ – Art Blakey & The Jazz Messengers
8. Cool Struttin’ – Sonny Clark
9. Blues Walk – Lou Donaldson
10. Somethin’ Else – Cannonball Adderley (feat. Miles Davis)
11. Back at the Chicken Shack – Jimmy Smith

Disc 2
1. Chitlins Con Carne – Kenny Burrell
2. The Sidewinder – Lee Morgan
3. Speak No Evil – Wayne Shorter
4. Maiden Voyage – Herbie Hancock
5. Song For My Father – Horace Silver
6. Black Byrd – Donald Byrd
7. Cantaloop (Flip Fantasia) – US3 feat. Rahsaan and Gerard Presencer
8. Come On In My Kitchen – Cassandra Wilson
9. Cold Cold Heart – Norah Jones
10. Afro Blue – Robert Glasper feat. Erykah Badu
11. Liquid Spirit – Gregory Porter 


NEW RELEASES: MONGO SANTAMARIA - MR. WATERMELON MAN - LA BAMBA; TONY BENNETT / COUNT BASIE AND HIS ORCHESTRA - IN PERSON!; SADAO WATANABE - SWISS AIR

MONGO SANTAMARIA - MR. WATERMELON MAN - LA BAMBA

Mongo Santamaria at the height of his Latin Soul years – working on a cool Columbia session titled after an earlier hit, but served up with his new lean sound of the late 60s! The album's got that perfect Santamaria combo from the time – a group that features trumpet and these wonderfully sharp arrangements from the great Marty Sheller – plus very smoking reed work from a young Hubert Laws, wailing away on flute and tenor, and Bobby Capers on alto and baritone – both players who mix jazz and soul instrumental modes, to bring a hell of a lot of feeling to the overall sound of the band – in ways that really get past more familiar use of trumpet or trombone in other Latin combos. The band grooves nicely on original material like "Streak O Lean", "Ricky Tick", "Do It To It", "Fatback", "Coconut Milk", and "Jose Outside" – and they also reprise Mongo's big hit "Watermelon Man" ~ Dusty Groove

TONY BENNETT / COUNT BASIE AND HIS ORCHESTRA - IN PERSON!

The story with this 1959 release is that the original live recording proved unusable, so a substitute studio session was scheduled with applause etc. tacked on afterwards. The session is certainly up to the high standards of both prime Tony Bennett and Basie's "New Testament" band, if slightly constrained by the artificial set-up. Still, as always, Bennett gives his all, especially on the impassioned near-gospel renditions of "Without A Song" and Kurt Weill's "Lost In the Stars." /Count Basie & His Orchestra. Recorded at CBS 30th Street Studios, New York, New York on December 22 & 30, 1958. Originally released on CBS (8104). Includes liner notes by Didier C. Deutsch. Personnel: Tony Bennett (vocals); Count Basie (conductor); Frank Wess (flute, saxophone); Charlie Fowlkes, Frank Foster, Billy Mitchell, Marshall Royal (saxophone); Wendell Culley, Joe Newman, Thad Jones, Snooky Young (trumpet); Al Grey, Henry Coker, Benny Powell (trombone); Ralph Sharon (piano); Fred Green (guitar); Eddie Jones (bass); Sonny Payne (drums); Candido Camero (bongos). Q (3/95, p.112) - 4 Stars - Excellent - "...No Bennett fan should be without this." Q (3/95, p.112) - 4 Stars - Excellent - "...No Bennett fan should be without this." ~ cduniverse


SADAO WATANABE - SWISS AIR

A hard-burning live set from the great Sadao Watanabe – still very much in his bolder, more spiritual style of the early 70s – despite a more fusion-styled look on the cover! The tracks are long, and Watanabe's work on reeds is really brilliant – informed and opened up by the work of Coltrane, yet voiced in that offbeat tone he brought to his music from his earliest days on record. The group's got a hell of a lot of power, too – with piano from Takehiro Honda, bass from Osamu Kawakami, and drums from Shinji Mori – three players who really propel the record with a soulful, modal vibe. Titles include "Masai Steppe", "Way", "Tanaznia E", and "Pagamoyo". ~ Dusty Groove


NEW RELEASES: SADAO WATANABE - COME TODAY; VIJAY IYER - MUTATIONS; SAM DEES - ONE IN A MILLION: THE SONGS OF SAM DEES

SADAO WATANABE - COME TODAY

Excellent small group work from Sadao Watanabe – easily one of the best Japanese reed players of the past 50 years – still sounding great here on a recent acoustic session! Watanabe plays alto throughout – a definite preferred horn of late – and stretches out in these expressive solos in the company of Gerald Clayton on piano, Ben Williams on bass, and Jonathan Blake on drums – a combo who step out with lots of warm sympathy on a set of tracks that's all original material by Watanabe! Sadao's tunes have a feel that's quite poetic, yet still also swinging too – a balance carried out in a wonderfully subtle way on tunes that include "I Miss You When I Think Of You", "Gemmation", "Vamos Juntos", "Simpatico", and "Warm Days Ahead".~ Dusty Groove

VIJAY IYER - MUTATIONS

Vijay Iyer on ECM – a great new setting for one of the most-discussed pianists in recent years – and a chance for him to offer up some even more creative sides of his talents! The record still features Vijay playing piano with some of those blocky tones and rhythmic pulses that we love from his other trio and solo recordings – but the album also features him on electronics, and working with a string quartet on one number too – all in ways that are looser and more abstract than some of his better-known records, and creates a bridge between his jazz work and some of the new music modes of ECM. Titles include "Vuln Part 2", "Spellbound & Sacrosanct Cowrie Shells & The Shimmering Sea", "Mutations I to X", and "When We're Gone". ~ Dusty Groove

SAM DEES - ONE IN A MILLION: THE SONGS OF SAM DEES

Sam Dees is a hell of a singer, and he's a hell of a songwriter too – one who's worked not just with the southern soul stars of his roots, but also a much wider range of soul talents too! This wonderful collection really gets at the strength of Dees' amazing ability to pen a special soul tune – as it features work from a surprisingly huge array of talents from all sides of the soul spectrum – including a fair bit of vocalists we never knew worked with Sam's material. We love Dees' own records to death – and have enjoyed many of his demo recordings over the years, too – but a set like this really shows the important influence he had on soul music in the 70s – the way he touched so many folks, and helped them out with his meaningful lyrics. The set features great notes on Sam and his contribution – and 22 tracks that include "Where Did We Go Wrong" by LTD, "Vanishing Love (UK rmx)" by The Chi-Lites, "Girl Overboard" by Dorothy Moore, "So Your Love Finally Ran Out" by Les McCann, "Run To Me" by Sidney Joe Qualls, "Save The Overtime" by Gladys Knight & The Pips, "Seconds Of Your Love" by Johnnie Taylor, "One In A Million You" by Larry Graham, "Spoiled By Your Love" by Anita Ward, "What A Way To Put It" by The Temptations, "Good Guys Don't Always Win" by Ray Crumley, and "My World" by Sam Dees himself! ~ Dusty Groove


Tuesday, March 11, 2014

NATALIE CRESSMAN - TURN THE SEA

Raised in an eclectic musical household, Natalie Cressman has only continued to diversify and expand her musical universe. Still in her early 20s, the trombonist, composer, and vocalist has assimilated the full range of her sonic influences into a startlingly mature, strikingly original voice that melds the sophistication of modern jazz with captivating storytelling and intoxicating melodies reminiscent of indie rock's most distinctive songwriters. 

Cressman has spent much of the last three years touring the jam band circuit with Phish's Trey Anastasio, while also performing with jazz luminaries Nicholas Payton, Wycliffe Gordon, and Peter Apfelbaum. Those varied experiences are reflected on her gorgeous second release, Turn the Sea. Anastasio calls the album "a beacon of light in an increasingly cold and mechanized era of music. Natalie is standing on the precipice of an incredible life in music, and if this album is any indication of where she's headed, then I'll be listening every step of the way."

Inspired in part by those bandleaders' boundary-blurring approaches, Turn the Sea reveals a sound that's utterly uncategorizable but instantly accessible, one that belies but is also a product of Cressman's youth. "I want to make music that my own generation can respond to," Cressman says. "I would really love for anyone to listen to my music and find something to relate to. I don't want to shut people out by being overly sophisticated and esoteric, even though everything I write is jazz-based and more dynamic and spontaneous than a lot of the music that is wildly popular."

The disc features a stellar eight-piece band, largely culled from Cressman's Bay Area peers: trumpeter Ivan Rosenberg, flutist and clarinetist Steven Lugerner, saxophonist James Casey, keyboardist Samora Pinderhughes, guitarist Gabe Schneider, bassist Jonathan Stein, and drummer Michael Mitchell join the bandleader, who sings and plays trombone. The two talents, she says, are intimately related. "I think the fact that I sing influences and affects the way I play the trombone and vice versa. The voice in my head that I write with and play with and sing with is the same, but the medium is different."

Cressman switched coasts in 2009 to study at the Manhattan School of Music, and the following year was enlisted by jam band pioneer Trey Anastasio for his touring band. "I first met Natalie when she was 18, and I was instantly floored by how melodically and naturally she played and sang," Anastasio says. "Natalie is the rarest of musicians. Born into a musical family and raised in a home filled with the sounds of Brazilian music, jazz and Afro-Cuban rhythms, she is seeping with innate musicality. Musicality is in her DNA."

Following her jazz-oriented debut, Unfolding, with the more song-based Turn the Sea was at least partially a result of her tenure with Anastasio, Cressman says. "Trey always wants to include the audience, but he doesn't dumb down his music to do it. I find myself between two worlds with the music that I'm writing; it's not bread and butter jazz but it's not wholly anything else either."

The album also features songs by two of Cressman's inspirations, reconfigured for her ensemble and voice. Norwegian singer-songwriter Hanne Hukkelberg provides "Do Not As I Do," while "Blindsided" is a song by indie favorite Bon Iver. The latter maintains the ethereal mood conjured by the original. "He gets a lot of mileage out of not too much," Cressman says of Bon Iver singer-songwriter Justin Vernon. "I'm trying to discover how little I can write and still have it mean as much as possible."

Upcoming Natalie Cressman Performances:
March 20 / Church of Boston / Boston, MA
March 21 / Nectar's / Burlington, VT
March 22 / Smoke Signals / Lake Placid, NY
March 26 / River Street Jazz Café / Plains, PA
March 27 / The Press Room / Portsmouth, NH
March 28 / The Main Pub / Manchester, CT
March 30 / Joe's Pub  / New York, NY

CHAT NOIRE - ELEC3CITIES

By organically blending elements of electronica and ambient music with bits of chamber music and jazz, the innovative trio of pianist Michele Cavallari, bassist Luca Fogagnolo and drummer Guiliano Ferrari has come up with a wholly unique sound on Elec3Cities that may establish a daring new direction for the piano trio. This delicate balance of electronic experimentalism and acoustic piano jazz has been evolving gradually from the group's initial release in 2006, Adoption, and continued on 2007's Decoupage through 2008's Difficult to See You and 2011's acclaimed Weather Forecasting Stone. But the three Italian musicians take it to a wholly new level on Elec3Cities, their most overtly experimental outing to date and debut for the London-based RareNoise label.
  
"Experimentation has always been a fundamental part of our work, in the past as well as now," says bassist Fogagnolo. "We'd describe our journey as a ship adrift. If jazz was our starting point we've always felt free to explore different languages. So for us, Elec3Cities does not feel like a conceptual leap since we have been gradually incorporating electronic manipulation of acoustic sounds into our music all along. The unique circumstance of the three of us being in three different cities during the recording of this project created an opportunity for us to more extensively use electronic sounds as a common language."
   
By creating their fifth album in a 'virtual studio,' the three members of Chat Noir showed that they are right on the cutting edge of recording technology. Indeed, the methods used in putting Elec3Cities together didn't even exist five year ago. As Fogagnalo explains, "The album was entirely developed by exchanging music session through a cloud-based system. So although the album is based on the usual three pillars - piano, bass and drums - the novel recording approach allowed us to have more time to devote to paying attention to small details. We could experiment a lot more in the post-production phase to manipulate the sounds and tracks. We had time to craft our work according to the original concept that we had for it, as well as ample time for it to take on a new form after multiple exchanges of ideas among the three of us."
  
The resulting sound of this expansive, genre-defying project is at times powerfully cinematic ("Avant Buddha") or delicately balladic ("Chelsea High Line"), dreamily evocative ("Pearls"), minimalist and ambient ("Aspekt") or bombastic and rhythmically charged ("Radio Show"). Surprises abound within each instrumental journey, whether it's the sonic excursion on "Peaceful," which builds from ruminative solo piano to throbbing crescendo, or the dramatic "Our Hearts Have Been Bombed," which travels from zen-like minimalism to provocative dub-noise passages.

Says Fogagnolo "Some of the tunes came from an idea that was well defined from the beginning, like 'Ninth' and 'Chelsea High Line.' Some others tunes grew from smaller fragments through collective work. We'd say that each tune is the result of cooperative energies. Given the multi-layered nature of the recording process that we adopted for this album, most of the ideas and sounds were inspired by a three-way conversion. Adding just even a sound or a single track could in fact generate more ideas and contribute to the final shape of each tune."

The individual members of Chat Noir attribute their collective chemistry to the 10-plus years that they have spent on the bandstand and in the studio together. Their immediate simpatico, which is apparent on all the tracks to Elec3Cities, is also what allowed them to record under such unorthodox circumstances. Even though they were in three different cities for this recording, their musical rapport is still very much present in these eight provocative tracks which are brimming with a universe of sound.

While the core of Chat Noir may have come from a modern jazz piano trio setting, somewhat along the lines of E.S.T. or the Bad Plus, Fogagnolo maintains that there is very little improvisation on their latest recording. "It always took a marginal place in our music," he says. "We always preferred to express our sound in a structured form rather than playing 'solos.' However, for Elec3Cities, each of us often improvised and recorded them as audio tracks for the others to listen to and spark different possible solutions for a theme or a sound as you hear it."

Following in the footsteps of such pioneering North European electronic jazz artists as Nils Petter, Molvaer, Eivind Aarset, Jan Bang, Eric Honore, Arve Henriksen and bands like Supersilient and Jaga Jazzst, Chat Noir are poised to take their place on that new music scene with the release of Elec3Cities, their most adventurous and potent project to date.

TRACKS
Avant Buddha
Chelsea High Line
Ninth
Pearls
Radio Show
Peaceful
Our Hearts Have Been Bombed

Aspekt

~ RareNoise


JAMIE SAFT / JOE MORRIS / CHRIS LIGHTCAP / GERALD CLEAVER / MARY HALVORSON - PLYMOUTH

Following on the heels of their successful collaboration on 2013's Slobber Pup, one of the most intensely throbbing releases in the RareNoise catalog, keyboardist Jamie Saft and guitarist Joe Morris have reunited for another potent and provocative offering in Plymouth. Joining them on the three expansive pieces that comprise this purely improvised set are the indelible rhythm tandem of bassist Chris Lightcap and drummer Gerald Cleaver, who have played together in various settings (including Morris' quartet) since the late '90s, ad rising star avant garde guitarist Mary Halvorson (a former student of Morris').
  
Together they create compelling stream-of-conscious sonic excursions that range from zen-like quietude to hellacious distortion-laced fury, as on the 20-minute "Manomet," the 13-minute "Plimouth" (no typo) and the 29-minute journey, "Standish." Nothing is ever predictable or resolves neatly on this audacious, wildly uncompromising outing, scheduled for an April release on London-based RareNoise Records.
  
Down Beat writer John Ephland reviewed Plymouth's U.S. debut on a special RareNoise label showcase held at Shapeshifter lab in Brooklyn on Dec. 13, 2013: "Beginning with a dose of dreamy electric piano, Plymouth brought on a storm of floating, shimmering rubato. The playing centered around a gently implied beat. Halvorson's guitar work started with deft, unobtrusive slide playing, which provided a contrast to Morris' more dedicated single-note lines. Saft's chimey chords directed the music into a loose-limbed rock cadence, while Morris' hard-edged picking served as a drone. Halvorson replied with lush chordal phrases, while Saft's scary-movie organ lines were a lattice for what became a two-note jam of squirrelly lines, repeated over and over. Saft continued with dense thickets of sound combined with repeated loops and pedal effects from both guitarists. By this point, there was an audible heaving and sighing over a definite groove, menacing but also somehow innocent. The group improvisation could be heard as a collection of voices-five individuals foraging through a forest of sounds."
  
That same collective search can be readily heard on the group's entrancing self-titled debut for RareNoise. "This group was conceived as a way to bring together Joe Morris and Mary Halvorson with a rhythm section of long standing friends and colleagues," explains Saft, who co-produced the recording with Morris. "It's a very different sound than Slobber Pup but created with a similar attitude and focus on total freedom. Nothing was pre-conceived or discussed beforehand. It's purely a meeting of sympathetic minds that resulted in something quite astonishing."

While Saft's keyboard rig in the crunching quartet Slobber Pup is mostly organs running through a Marshall amp turned up to 11, his setup in Plymouth is based around the acoustic piano fed through an Echoplex (like on his own dub-influenced New Zion Trio). Morris and Halvorson interact intuitive on guitar, alternately between clean tones and distortion tones, with Halvorson also supplying some of her signature chordal swells with her deft use of a Whammy Bar pedal.

Chris Lightcap, who almost exclusively plays upright bass in his own group Bigmouth and in his numerous sideman roles, plays a hollowbody electric bass with a fuzz pedal on this Plymouth session. And Cleaver, a remarkably flexible and powerful drummer, provides the glue that holds all the freewheeling excursions together. "I absolutely love playing with Gerald," says Saft. "He is the rare marriage of power, depth and complete freedom. Gerald frames all the madness with an acoustic sound that is extra rich and complements all the electrical energy perfectly."

With no plan whatsoever, no lead sheets or sketches or even conversations about what they would play, the members of Plymouth went into the studio, pressed the record button and created on the spot. "Nothing was preconceived," says Saft. "Sonically each musician in this ensemble has such a clear voice and after years of playing together we can great straight to the intuitive true collective improvising. No boring repetition, no licks. Purely deep listening and mutual trust." Adds Morris, "I think it was just a matter of thinking about a group of people who could bring unique things and work together well. And what we came up with is really interesting and different."

Says Morris of his former student Halvorson, "Mary is a great guitarist. She and I share some ideas and so we have always sounded good together. She's a great person who is really easy to work with too. And she does unique things in the way she plays lines, uses effects and builds form." Morris has equal praise for drummer Cleaver, who previously appeared on two Morris quartet recordings, 1999's Underthru and 2000's At the Old Office. "I don't know of anyone who plays like Gerald. He's a deep and serious artist of the drums who is always changing, and he likes the unknown, he thrives on that. He adds something strong and unique to every situation he's in. He's a great, original drummer. So asking him to work in a situation that is seeking the new and unknown just makes sense. He thrives in that kind of thing and gives us all a new framework to play in."

The veteran guitarist also has had a longstanding relationship with bassist Lightcap, who appeared on Morris' 1998 recording, A Cloud of Black Birds, and his subsequent two quartet outings, 1999's Underthru and 2000's At the Old Office. "Chris is a great bassist who doesn't play electric enough, but that was his first instrument. He gets a different sound on it than anyone and does different things with it. We wanted different and good listening and spontaneous formulation for this session, so we knew we needed Chris. Also, he and Gerald go way back. They've been playing together longer than all of us and they have an instant chemistry which was very important to this recording."

Saft, who has long been associated with many of John Zorn's ensembles including The Dreamers and Electric Masada and has also toured and recorded with the pioneering Japanese noise musician Merzbow, heaped praise on his Plymouth partner Morris, a free jazz guitar icon with more than 20 releases as a leader to his credit. "I've known Joe for over 20 years," says Saft. "We made music together in the early '90s in Boston when I was finishing up as a student at New England Conservatory. Joe was a local avant legend and I was extremely fortunate to get to work with him back then. We lost touch for almost 20 years and reconnected at some festivals a few years ago and started brainstorming."

Their brainstorming sessions eventually led to 2011's XYX by The Spanish Donkey, a powerhouse trio featuring drummer Mike Pride, and to last year's Slobber Pup, which also featured electric bassist Trevor Dunn and the powerhouse Hungarian hardcore drummer Balazs Pandi (Obake, Metallic Taste of Blood, Merzbow, Otto Von Shirach, Venetian Snares). Now the two immensely talented and wide-open musicians take things into an entirely different zone on their latest purely improvised sonic adventure, Plymouth.

TRACKS
Manomet
Plimouth
Standish


~ RareNoise



CANNONBALL ADDERLY - THE BLACK MESSIAH (2-CD SET)

In 1970, Cannonball Adderley recorded a series of concerts that resulted in three cult classic live albums, of which this double-album—produced, like other landmark double albums of the time like Soul Zodiac and Soul of the Bible, by David Axelrod—is the hardest to find. It captures Cannonball and the Quintet (brother Nat Adderley on cornet, Roy McCurdy on drums, Walter Booker on bass and George Duke—fresh from replacing Joe Zawinul, who had left to form Weather Report—on keyboards) at the forefront of the burgeoning electronic jazz-rock fusion movement, sounding at times every bit like the early ‘70s band of Cannonball’s former bandleader Miles Davis, except maybe even funkier and more out there. 

But Cannonball always had a  populist streak to him—after all, the man had a Top 20 hit with “Mercy, Mercy, Mercy”—and so The Black Messiah also features flat-out rock and roll (guest guitarist Mike Deasy’s “Liittle Benny Hen”) as well as dips into the soul-jazz style that had landed him on the charts several years earlier, all punctuated by his always entertaining between-song raps. The band is killer, too, with guests including, in addition to Deasy, percussionists Airto Moreira and Buck Clark, clarinetist Alvin Battiste and saxman Ernie Watts. 

How this fascinating double live album—which was recorded at the Troubadour in Los Angeles during the same concerts that yielded the album Music, You All—has eluded reissue till now is anybody’s guess, but our Real Gone Music/Dusty Groove release features liner notes by Cannonball devotee Bill Kopp, with original art and added photos. Remastered by Maria Triana at Battery Studios in NYC—one of the most mindblowing collaborations between Adderley and Axelrod!

DISC ONE: 
1. Introduction /  2. The Black Messiah / 3. Monologue / 4. Little Benny Hen / 5. Zanek / 6. Dr. Honouris Causa /

DISC TWO
1..The Chocolate Nuisance / 2. Untitled / 3. The Steam Drill / 4. Eye of the Cosmos / 5. Episode from The Music Came / 6. Heritage / 7. Circumference / 8. Pretty Paul


THE 5TH DIMENSION - EARTHBOUND: THE COMPLETE ABC RECORDINGS

The Soul City and Bell recordings of the original line-up of the 5th Dimension—Billy Davis, Jr., Marilyn McCoo, Florence LaRue (Gordon), Lamonte McLemore and Ron Townson—have been amply reissued in the digital age, with reissues of all their albums and collections too numerous to name. But Earthbound, the final album they recorded together after moving to the ABC label in 1975, has, due to some contractual confusion, been lost in limbo for almost four decades. Now, after years of persistent efforts, the legal logjam has come unstuck and Earthbound has been “unearthed,” with two bonus single sides (featuring the original version of “Love Hangover”) to boot, all on CD for the first time! 

This album’s use of synthesizers marked a real departure for the band and moved them in a new, funky direction; it also marked a highly anticipated reunion and final collaboration with legendary songwriter Jimmy Webb (“Up, Up and Away”), as Webb produced and arranged the record and wrote half of its songs. Remastered by Mike Milchner at SonicVision, with liner notes by Joe Marchese and added photos and memorabilia—this Real Gone reissue fills a major gap in the discography of one of the greatest pop-soul groups of all time!

Songs:
1. Earthbound/Prologue—Be Here Now / 2. Don’t Stop for Nothing / 3. I’ve Got a Feeling / 4. Magic in My Life / 5. Walk Your Feet in the Sunshine / 6. When Did I Lose Your Love / 7. Lean on Me Always / 8. Speaking with My Heart / 9. Moonlight Mile / 10. Earthbound/Epilogue /  Bonus Tracks: 11. Love Hangover / 12. Will You Be There


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