NEW RELEASES: CHRIS BYARS - THE MUSIC OF DUKE JORDAN; MICHAEL COCHRANE - DISCOVERY; BERNARD PURDIE - PURDIE GOOD!

CHRIS BYARS - THE MUSIC OF DUKE JORDAN

The music of Duke Jordan, but in a really fresh setting – handled here by altoist Chris Byars, who's brought together a compelling lineup for the set! Many of these tracks are numbers you'll either know as bop standards, or from Jordan's trio recordings – but the approach here is quite inventive, and makes the record way more than just a tribute – in the creative style of Byars' previous projects dedicated to Gigi Gryce or Lucky Thompson. Chris opens up the tunes with instrumentation that includes bass clarinet from Stefano Doglioni, trombone from John Mosca, and guitar from Pasquale Grasso – as well as vocals from singer Yaala Ballin, who composed lyrics for two Jordan tracks – "If I Did Would You" and "Lesson In Love" – which are nestled nicely next to instrumentals that include "Jordanish", "Undecided Lady", "There's A Star For You", "Glad I Met Pat", and "The Bullet". ~ Dusty Groove

MICHAEL COCHRANE - DISCOVERY

Wonderfully warm work from the great Michael Cochrane – a pianist we always love, and who also seems to be playing a bit of Fender Rhodes on this album too! The instrument's not credited on the back, but turns up in an excellent version of Denny Zeitlin's "Quiet Now" – which is handled by Cochrane with just the right sort of space and tone to really open up the composition – in a way that's very different from the bolder, more soulful tones the pianist uses throughout the rest of the album. As always with a record from Michael, the original tunes are some of the best – and include "Discovery", "MC's Bossa", "Erie Blues", and "Fantasy" – all the kind of numbers that always have us digging for his records whenever we get the chance. Other tunes include "Oblivion", "Yesterdays", and "Visitation" – and the trio includes Daryl Johns on bass and Steve Johns on drums.  ~ Dusty Groove

BERNARD PURDIE - PURDIE GOOD!

Bernard Purdie's first album as a leader for Prestige – cut right after he'd hipped up plenty of other sessions for the label with his famous funky drums! The groove here is very much in the best Prestige jazz funk mode of the early 70s – tightly vamping rhythms that draw heavily from Purdie's monstrous drums – and which also offer solo showcase space for Harold Wheeler on electric piano, Ted Dunbar on guitar, Tippy Larkin on trumpet, and Charlie Brown and Warren Daniels on tenor. Rhythm is augmented by Gordon Edwards on Fender bass and Norman Pride on congas – and the grooves hit a variety of modes that show that Purdie could sometimes be a more open-thinking rhythmatist than his funky contemporary Idris Muhammad. Titles include great instrumental versions of "Cold Sweat" and "Montego Bay", plus the originals "Wasteland", "You Turn Me On", and "Purdie Good". ~ Dusty Groove

NEW RELEASES: DEXTER GORDON - THREE CLASSIC ALBUMS PLUS; CARMEN MCRAE - BOOK OF BALLADS; BARRY MANILOW - MY DREAM DUETS

DEXTER GORDON - THREE CLASSIC ALBUMS PLUS

Avid's Three Classic Albums Plus places tenor sax player Dexter Gordon's two Bethlehem-led dates from 1955 -- Daddy Plays the Horn and Dexter Blows Hot and Cool -- in the company of his 1960 comeback The Resurgence of Dexter Gordon (on which he appears on most, but not all of the tracks) as well as six of seven cuts from Stan Levey's excellent Bethlehem session, This Time the Drum's on Me, which is also from 1955. The liner notes from the original albums and complete session attributions are provided in the booklet. Prospective buyers should consider a couple of things before dropping money: first, the "remastered sound" in this budget package is not from analog source tapes, but either from LPs or perhaps even MP3s since there are audible clicks. Secondly, given that the U.K.'s copyright laws are different from Gordon's American ones, these are in the former's public domain, and there is no financial remuneration to the artist's estate. It's true that the music is great and this is certainly inexpensive, but the adage "you get what you pay for" also applies. Those who wish to investigate Gordon's early dates as a leader would be well advised to seek out the American recordings first. They contain much better sound and royalties actually get paid. ~ Thom Jurek

CARMEN MCRAE - BOOK OF BALLADS

Carmen McRae's book of ballads is a great set of standards – performed by a core trio that features Don Abney on piano, over larger backings by Frank Hunter! The set's a treasure from Carmen's early years – and is filled with dusky renditions of tunes that are familiar, but which have a very different feeling here – thanks to McRae's sense of care and space with the material – one that almost brings a personal, reflective quality to the whole thing. Titles include "He Was Too Good To Me", "By Myself", "My Romance", "When I Fall In Love", and "Please Be Kind".  ~ Dusty Groove

BARRY MANILOW - MY DREAM DUETS

For his Verve Music debut My Dream Duets, Manilow demonstrates that he is a fan celebrating his own musical heroes who have inspired him through the years. From cherished idols like Andy Williams, Sammy Davis Jr, Dusty Springfield, Mama Cass, Jimmy Durante, Marilyn Monroe, Frankie Lyman, Judy Garland and Louis Armstrong to contemporary icons like Whitney Houston and John Denver. Barry has joined together with them in his recording studio, emerging with a collection of remarkable duet classics. Here’s the official description of Barry Manilow's My Dream Duets is as follows: "For his Verve Music debut My Dream Duets, Manilow demonstrates that he is a fan celebrating his own musical heroes who have inspired him through the years. From cherished idols like Judy Garland and Louis Armstrong to contemporary icons like Whitney Houston and John Denver. Barry has joined together with them in his recording studio, emerging with a collection of remarkable duet classics. Although the extraordinary guest artists on My Dream Duetss are no longer with us, Manilow's mission is to ensure their immortal voices live on to excite and entertain all generations of music lovers." Barry Manilow's My Dream Duets will be released on October 28.

DIANA KRALL CANCELS FALL TOUR DATES DUE TO ILLNESS, RELEASE DATE FOR NEW ALBUM “WALLFLOWER” PUSHED TO FEBRUARY 3, 2015

Due to ongoing complications brought on by a case of pneumonia, five-time Grammy© Award-winning jazz pianist and singer Diana Krall has been forced to postpone her scheduled album release, and US Fall Tour. Diana Krall’s new studio album “Wallflower” (Verve Records) was due for North American release on October 21st and the US leg of her “Wallflower World Tour” was to kick off in Phoenix, AZ on November 7th. “Wallflower” is now set for release on Verve Records on February 3, 2015.

Diana’s condition has become much more chronic than first anticipated, and she is unable to travel or engage in any promotional or touring activities for at least another 6 weeks to 2 months.

Mrs. Krall is extremely disappointed to have to announce this today, but also realizes that, upon advice of her doctors, this is the only course of action available to her at this time to ensure a full recovery.

“I’m deeply saddened that I will have to postpone the release of my new album ‘Wallflower” and the “Wallflower U.S Fall Tour” until next year. I’ve been battling a severe case of pneumonia and am under doctor’s orders to rest for the next few months in order to regain my strength and good health.

Performing is both a privilege and a joy for me. When I go out on stage I want to be able to give it everything. Taking this time to rest and recuperate will allow me to do that. It is frustrating to be so close to the record release and have to delay but I am very proud of this record and want to be able to give you all my very best when we finally present this music to you. Thank you so much for your understanding.” – Diana Krall

New tour dates for the “Wallflower World Tour” will be announced in the coming weeks. Please stay tuned for further information or visit www.dianakrall.com

~ Verve Records

GUITARISTS ERIC JOHNSON AND MIKE STERN JOIN FORCES ON NEW RELEASE - ECLECTIC

Two bona fide guitar heroes in their respective fields – Eric Johnson in the rock realm and Mike Stern in the jazz world – go toe-to-toe on Eclectic, a scintillating musical showcase that brings together their disparate influences in one potent package. Guitar aficionados of all stripes will stand slack-jawed hearing these formidable six-stringers exchanging high octane licks on Stern’s funky “Roll With It” and Johnson’s cruising pop anthem “Hullabaloo” (a kind of answer to his catchy GRAMMY®-winning rock instrumental “Cliffs of Dover” from the platinum-selling 1990 album Ah Via Musicom). 

The two dip into a jazzy bag on Eric’s “Tidal” (a tribute to his own personal guitar hero, Wes Montgomery) and on Mike’s surging modal romp “Remember” (patterned after John Coltrane’s “Impressions” with some allusions to Jimi Hendrix’s “Third Stone From the Sun”). More fretboard flights ensue on Johnson’s jazzy “Benny Man’s Blues” (a kind of ode to Benny Goodman and Charlie Christian) and on Stern’s dark, slow-grooving “You Never Know.” And it is somehow fitting that these two sons of Jimi close out this six-string extravaganza with a scorching rendition of the famous Hendrix blues, “Red House,” with each of them trading vocal choruses. 

“It was my singing debut,” says Stern. “I sang the first verse and Eric sang the second verse, then he sings the first two lines of the third verse and I sing the last two lines of the third verse.” (Stern also sneaks in a quote from Jimi’s “Third Stone From the Sun” on a smoking rendition of “Dry Ice,” an Electromagnets tune which Eric revived for this session). Sterns sums up the project by saying, “This whole record, even though we did it in the studio, was really recorded live. A couple of things were fixed but there was that spontaneous quality which is what we were looking for and I definitely think that's what we got. I really dig the way this record came out. It has a lot of energy and a lot of musicality.”

Recorded at Johnson’s studio in his native Austin, Texas, Eclectic, scheduled for release on October 28, 2014 on Heads Up International, a division of Concord Music Group, is anchored by the flexible rhythm tandem of drummer Anton Fig (a longstanding member in the Paul Shaffer-led house band of Late Night With David Letterman) and Johnson’s regular bassist Chris Maresh, who also contributes the open-ended Bitches Brew flavored “Bigfoot.” Special guests on this three-day session include Austin’s resident soul man Malford Milligan, who sings with gravelly-voiced gusto on the opening “Roll With It.” 

“He’s just awesome,” says Johnson. “Malford’s got so much vibe it doesn’t matter what he sings. He just puts magic on everything.” Mike’s wife Leni Stern also provides vocals and plays n’goni (an African stringed instrument) on intros to “Bigfoot” and “Wherever You Go.” Christopher Cross (the GRAMMY® Award-winning songwriter of “Sailin’,” “Ride Like the Wind” and “Arthur’s Theme (Best That You Can Do)” as well as a fellow Texan and longtime friend of Johnson’s) sings backup vocals on the bridge to Stern’s beautiful “Wishing Well” with Mike singing the verses. Guy Forsyth lends some blues harp to “Red House.” And Johnson’s catchy “Hullabaloo” is punched up by the horn section of saxophonist John Mills, trombonist Mike Mordecai and trumpeter Andrew Johnson.

Not only have the two guitarists admired each other’s playing for years (Eric heard Mike back in the ’80s with Miles Davis, and Mike first heard Eric when his hit “Cliffs of Dover” caught on big back in 1990), they came to have a greater appreciation of each other’s songwriting abilities during the course of the Eclectic sessions. “I’ve been aware of Mike for years and I was familiar with some of his playing,” says Eric, “but I wasn’t as deeply familiar with his songwriting. As we began working together, I started going through all his songs and I was just blown away by some of the ballads. His tunes ‘Wishing Well’ and ‘Sometimes’ are beautiful. And his tune ‘Wherever You Go’ is one of my favorites on the record. I think that’s another thing we have in common: we both get turned on by and really enjoy a good song. If there’s some kind of viable composition that’s put together in a way that emotes to people, we’re both real fans of that and that’s why it’s exhilarating to do it. We’re both interested and sensitive about songwriting and composition, and consequently since we’re also so passionate about playing guitar I think we try to figure out how to do it in a way that serves the composition. So I think what comes out of that is just a little bit of a tension and a little bit of care and concern about what the other person is playing. I’m constantly thinking, ‘How can I voice what I’m playing to fit what Mike is playing? How can we make it work in a musical way?’” And they strike a rare accord throughout Eclectic.

The seeds for this extraordinary six-string summit meeting were planted in 2009 when Johnson played on two tracks from Stern’s GRAMMY®-nominated album Big Neighborhood. As Stern recalls, “At that session, which we also did down in Austin, I remember us saying, ‘One of these days we should do a record together,’ but I never thought that would happen. And then we played a gig together at the Blue Note in New York, and it kind of went from there.” Johnson and Stern’s week-long engagement at the Blue Note in August 2013 was preceded by two warm-up nights at the Regattabar in Boston, where they further explored their musical chemistry together. “It was really fun for me because we have different priorities in our playing,” says Stern. “I’m more of a jazz player, of course...that’s my priority and I love that stuff. But I also love rock and blues-rock and straight blues and Motown. That’s how I came up. I started off listening to Jimi Hendrix, Smokey Robinson, Aretha Franklin and the Jackson Five, and of course, lots of blues. 

Those were my roots. And then I got more into jazz when I was about 17. I fell in love with it. And ever since then my priority has been with my jazz playing. But I have that other stuff that comes out in my music. And it always has. For Eric, jazz has never has been his total priority, although Wes Montgomery is his favorite cat. So he has a lot of that sensibility in his playing. And as we started playing together we discovered that we really had so much in common. So it was definitely fun.”

Stern was ecstatic about getting an insider’s look at Johnson’s unique six-string vocabulary. “The way this cat plays! I’m just beginning to figure out what the hell he’s doing. He does these pedal steel kind of licks on guitar and such beautiful orchestration. He picks some notes with his right hand using his fingers and pick together. He plays a lot with his fingers and pick, and some of the runs that he uses...the lines that he plays are very harmonically sophisticated. He can play piano, so there’s some pianistic stuff that happens with his comping. And he’s got Travis picking down. Plus, he’s a singer, so that influences his phrasing on guitar. Everything he plays is really cool and beautiful. It’s just very much Eric Johnson. He’s got his own style and it’s amazing! And more than that, he’s just a very soulful cat. He plays with a lot of heart and soul. And I love that!”

Adds Johnson, “I was mentioning to Mike when we did this recording that it was one of my favorite double guitar situations that I’ve ever done, because a lot of times you do two guitar things and it’s hard for it to fit together in a very musical, cohesive way. It can get kind of busy, where you cover each other up. But through dynamics and listening to each other and thinking about the way we voice chords and support each other, I think this collaboration lent itself to being more in a musical kind of way, which has been a real nice experience for me.”
With Johnson’s warm-toned distortion licks, smooth intervallic leaps up the fretboard and his occasional audacious wah-wah licks blending organically with Stern’s fiery be-bop and blues-based vocabulary, Eclectic is chockfull of thrilling fretboard fusillades, tempered with some uncannily lyrical six-string work by two of the most esteemed players of their generation. For music aficionados, this collaboration is a match made in heaven.

BROOKLYN-BASED JAZZ QUINTET SKETCHES RELEASES VOLUME TWO

Started in 2011, Sketches is a Brooklyn-based collective jazz quintet in which each member writes music based on another member's musical idea. Inherent in each piece is the challenge of blending two distinct musical personalities, yet with an ensemble of strong composers and sensitive performers, the results have been as engaging as they are unpredictable. Scott Yanow commented in Jazz Inside Magazine that, "these five musicians all have compatible styles and listen closely to each other, two qualities that give Sketches its own group sound . . . With consistently fine solos (pianist Cherner is particularly inventive) and worthy themes, Volume One is an excellent start for Sketches." 

On Volume Two, Sketches continues its investigation and exploration of their unique collaborative compositional process. The music on the band's sophomore album is a result of the growth that they have experienced while touring and performing music from their debut, appearing not only in New York City, but also performing in Washington D.C, Baltimore, Portland, and Boston. Volume Two reflects a deepening understanding between the band mates, building upon the critically-acclaimed music they offered on Volume One. As with the music from Volume One, each member shared a sketch from his notebook (e.g. any musical fragment, a collection of fragments, an incomplete tune) and another member used that as the basis for a new composition. The band then rehearsed and developed the compositions further. In this process, no tune is deemed complete until the band plays the composition and each improviser finds a way of coloring the pre-written material. Although the compositions start as "sketches", they are forged into complete compositions with ample room for improvisation. The band recorded all of the music on Volume Two in one day, a big indicator of the band's brilliance as ensemble players, and the unmitigated virtuosity they posses on their respective instruments. 

The compositions on Volume Two reflect a very personal tone and approach. The highlights include Ravitz's "Hail from Plainville" (based on a sketch by Jeremy Udden), a tribute to Udden's personality and his compositional approach - a rare ability to combine jazz and folk music in a seamless way - that Ravitz admires. On Holman's "Y&H"(based on a sketch by Ravitz), the use of "power chords" are a tip of the hat to Holman's angst-loving teenage years. Ravitz's sketch inspired Holman to create a simple, open-form composition that has a passionate grunge feel but also pays tribute to the drummer's Middle-Eastern sensibility (Ravitz originally titled his sketch "Y&H" as a dedication to Israeli-born musician Yaron Herman). Bassist Martin Nevin's "Dyson Ritual" (based on a sketch by Udden), is meant to evoke a tribal ritual with the opening theme summoning the members of the tribe and a call to the forces that the ritual honors. Cherner's "Caught In The Storm" (based on a sketch by Holman) depicts the drama and volatility of either an internal, or actual, storm. Cherner was drawn to the harmony that resulted from the various permutations of the pitch set and the rhythm that Holman's sketch included. The band enters gradually as the storm brews, crackles with dissonance, finds moments of lyricism, gains momentum, and eventually dies down. In the coda, the listener is left with the tranquil space that's left in the storm's wake." Throughout Volume Two, the band delivers, "impressive post bop material, with rich and intelligent arrangements and a clever mix of melody and improvisation . . . You'll like these guys!" - George Harris, JazzWeekly.

  

More on Sketches: The members of Sketches are leaders of their own bands, and in-demand sideman as well, having performed and/or recorded with Lee Konitz, Joe Lovano, Fred Hersch, Darcy James Argue's Secret Society, Steve Lacy, John Hollenbeck, George Garzone, Aaron Goldberg, Aaron Parks, & Esperanza Spalding, among countless others. The artists have also garnered multiple accolades from the Young Jazz Composer Awards, the BMI Foundation's Charlie Parker Jazz Composition Prize/Manny Albam Commission, as well as both national and international performance competitions. United in Sketches, these five musicians become a formidable force of creativity.

NEW RELEASES: LAURA DREYER – VIDA. ARTE. AMOR.; DAN MASTROIANNI – TEARS AND WHISPERS; MEGA JAWNS – TEN LETTERS FROM HOME

LAURA DREYER – VIDA. ARTE. AMOR.

Of her current work she says, "I discovered an intrinsic emotional quality in Brazilian music that helped me find a deeper level of self-expression. After having performed many times with Brazilian jazz artists throughout the years in New York City and Brazil, I began to envision recording my newest album in Rio de Janeiro. I had worked with world-class Rio-based jazz artists in Brazil, and realized that I had found the perfect group of musicians to perform my music and complete my vision." In the spirit of creating a multi-cultural recording, vocalist and music educator Professor Roger Wesby wrote lyrics in Spanish for one of Dreyerʼs compositions. Brazilian vocalist Débora Watts adapted these lyrics to Portuguese, and penned lyrics to another one of Dreyerʼs songs. Vocalist Teri Koide contributed her vocal talents and English lyrics to another piece, and Karen Rodriguez helped with further Spanish lyrics and stellar vocals. The repertoire was completed with the addition of two arrangements of a composition by the legendary Romeo Santos.

  

DAN MASTROIANNI – TEARS AND WHISPERS

Recorded in 1984, Mastroianni recorded his album with banks of keyboards, and a few musician buddies. The ‘experimental’ nature of the album shines through on nearly every track. This was new technology, and it sometimes sounds like Mastroianni was finding out exactly what each machine could do, as he did it! He also provided the edgy vocals, making for a very idiosyncratic artist/writer/producer album. Many of you will now know the brilliant uptempo boogie of Just One Touch (which was featured on BBE’s own Americana 2 compilation last year) but whatever you are expecting from this ultra-rare private press, you are likely to be surprised. Style, tempos and moods changes throughout, the only constant being Dan Mastroianni’s harmonic adventurousness, and primitive, expansive synth sounds that never quite let up. You can tell he was having fun making the album, and was coming from a place all of his own, though one might guess he’d listened to a fair amount of Weather Report, Yellow Magic Orchestra, George Duke and funk/boogie before he committed himself to wax. Some highlights: You and I is in floaty mid-tempo soul mode and features some fine soloing from Dan. Lead On is blue-eyed boogie, bringing to mind the likes of David Bendeth; Million and One is nothing short of trippy with its manic bassline and swelling synth chords. Blame It On Love has enough changes of direction for three tracks, and again showcases what a good player Dan was when he soloes. Shine could conceivably get the two-step vote. And look out throughout for some noteworthy playing from Dan’s brother on reeds. As Dan says, this album was a ‘fusion’ concept in every sense: a fusion of man and machine, of ‘carbon and silicon’, mind and matter… it was recorded as a labour of love, and now, three decades later, it’s time for the rest of the world to share the love! ~ bbemusic

MEGA JAWNS – TEN LETTERS FROM HOME

Mega Jawns were born on March 10th 2014 in a basement studio deep beneath the frozen streets of West Philadelphia. The product of a chance meeting between two veteran producers, both named Will. Their debut LP ‘Ten Letters From Home’ was written, recorded and mixed within seven days of the pair first shaking hands and is due to be released later this year on BBE. Philly keyboard player, vocalist and producer Will Brock has been a journeyman on the international soul & jazz scene for many years, touring and performing alongside the Stylistics, Miles Jaye & Marion Meadows others. Equally at home in the studio as behind the piano, Will has seen releases on King Street Records & recorded with Stephanie Cooke & King Britt as one half of production outfit Soul Dhamma. UK producer & DJ Will Sumsuch has been a stalwart of the European deep house scene for over a decade, playing shows from Brighton to Barcelona, Hoxton to Helsinki. His unique brand of deep-thinking electronic production has found favour with discerning DJs the world over, among them Ben Watt, Osunlade, Justin Martin & Jody Wisternoff.  The duo initially worked together on Sumsuch’s single ‘Simpatico’, which was released on his own label Colour and Pitch in 2013, garnering support from legendary house vocalist Robert Owens among many others. Following the release, Sumsuch decided to hop on the plane to connect in person, and maybe make a couple of tracks too. The pair joked about making an LP, but neither really thought it would happen in a week…  The resulting music can only be described as the joyous sound of two talented musicians and producers working together in unison, completing each other’s sentences. With the full weight of Philly soul tradition underpinned by unmistakably restrained European electronica, this record captures a character that neither performer could have summoned up alone. “Spirits were with us in the studio that week” says Brock and for once, the usually jovial Sumsuch simply nods solemnly. Joy is a taster from the the album, due to be supported in the clubs by John Morales, Louie Vega, Boddhi Satva and Kerri Chandler. ~ bbemusic

NEW RELEASES: PAUL BOLLENBACK – PORTRAITS IN SPACE AND TIME; THE GRITS – MAKE A SOUND; OMAR - STOP WAR MAKE LOVE

PAUL BOLLENBACK – PORTRAITS IN SPACE AND TIME

One of the most highly sought after guitarists in jazz for both live performance and recording, Paul Bollenback may be best known for his ongoing, decades-long association with Joey DeFrancesco. In addition to his work with the celebrated organist, Bollenback has recorded and shared the stage with Houston Person, Geoffrey Keezer, Jeff "Tain" Watts, Joe Locke, Terri-Lyne Carrington, Gary Smulyan, Buster Williams and Mike LeDonne, among many others. Bollenback has been rated a Rising Star in the DownBeat Critics Poll in 2013 and 2014; he also earned a Grammy nomination for his production on DeFrancesco's album Never Can Say Goodbye. Bollenback's latest album as a bandleader, Portraits in Space and Time (September 23, 2014, Mayimba Music) captures the guitarist in an intimate trio session with Joseph Lepore on bass and Sao Paolo's Rogerio Boccato on drums and percussion.  This new collection of fourteen original compositions reflects the group's eclectic influences, imbued throughout with a warmly tropical flair that attests to the chemistry between the musicians. "As a group, we move organically, like a conversation," Bollenback explains. "One tune will leap into another...we did sets of three or four tunes without any break. We weren't really trying to go tune by tune: we were trying to recreate a live performance in the studio."

THE GRITS – MAKE A SOUND

Following their well-received debut album for Freestyle and a bunch of singles on a variety of labels (Mocambo, Music With Soul, Fraternity, Hamhock), The Grits have beefed up their indeed ‘gritty’ raw funk with fuller instrumentation and explored the possibilities suggested by a move further in a psychedelic direction. Their music brings to mind an array of influences: think Dick Hyman’s moog albums with the eastern vibes of an Anandar Shankar, and maybe a touch of the Small Faces, and you’re getting warm. They cite The BBC Radiophonic Workshop (where the aforementioned Derbyshire shook up the musical and social establishment), Funkadelic, Os Mutantes, Pierre Henry, and even Stockhausen as artists that have shaped their sound.  Singer Sophie Alder-McKean, with her distinctively English voice providing vivid contrast to all the sweaty funk comes to the fore on (I’d Walk A) Funky Mile, Just A Little Bit and Yeah, No. Black Sambuca is in the tradition of early 70’s sitar-funk, culminating in some experimental Moog madness, and we almost get into dub territory as the track breaks down. Heel and Toe sounds like Afrobeat organ atop hip-hop drums, and references James Brown’s immortal advice to Bootsy Collins, ‘You gotta get to the heel and toe, or else you’re gonna blow!’ for the funk cognoscenti. Six Pack is slow grinding psychedelic-funk complete with spoken/shouted vocals provided by Brazilian DJ Joel Stones and a girlie chorus. Let Me Know is also pure ‘60s beat business with its catchy hook, plus some stinging guitar work and an exciting percussion and bass breakdown. Make A Sound (Like James Brown) is another pure funk groove, with the horns to the fore and some wicked percussion/bass/drums interplay, mutating into psychedelic electronics, while Skin and Bone could be a long-lost psych-funk curiousity of the early ‘70s, complete with a very ‘punk’ chorus and a really wild guitar outro! It seems The Grits never play it totally straight… ~ bbemusic

OMAR - STOP WAR MAKE LOVE

Omar Lyefook, legendary singer, songwriter, actor and MBE is never a man to mince his words. On 2013's album 'The Man', he vented his frustration at mankind's willingness to wage war on itself in an explicit lyric version of this track. Such an important & sadly topical message should be heard by the widest audience possible, and so we present the radio friendly version re titled Stop War, Make Love. Lyrical message aside - this track is also musically super heavy, a funking Fender Rhodes hook line, squelchy synthesiser sounds, deep dish drums and massive horns all lock together this airtight uptempo groove that's a perfect combination of music and message. Grammy award winning producer The Scratch Professer retwists of Stop War, Make Love and Omars' evergreen classic There's Nothing Like This, will whet your musical tastebuds for the forthcoming full length Scratch Professer reworking of The Man album. As a producer, DJ, remixer, and who also just happens to be Omars' brother and long term co-producer, he puts his unmistakable stamp on Omar's music.

Owen Howard - Drum Lore Vol. 2 - More Lore

Owen Howard, originally from Edmonton, Canada, has performed and recorded with the likes of Joe Lovano, Kenny Werner, Tom Harrell, Kenny Wheeler, John Abercrombie, Dave Liebman, George Garzone, Dave Holland, Eddie Henderson, Sheila Jordan, Jay Clayton and many others. He has appeared on over forty recordings to date, including five under his own name, and has toured extensively throughout Europe, the United States and Canada. With more than twenty years of successfully leading his own bands, Howard is clearly an artist successfully following in the footsteps of legendary drummers/bandleaders such as Tony Williams, Peter Erskine, Billy Hart, Jack DeJohnette, Paul Motian, Al Foster, Shelly Manne and others.

Now with the release of his seventh CD, Drum Lore Vol. 2 - More Lore, the follow up to the critically-acclaimed, 2011 Juno Award Nominated, Drum Lore (on BJURecords), Howard continues to celebrate and interpret music composed by drummers, and also feature more of his own compelling compositions. Where Vol. 1 was conceived as a studio recording of sorts, with each piece featuring a different configuration and concept, the second installment of the Drum Lore project gives the listener a taste of what the group sounds like in its working quintet format, featuring Adam Kolker (soprano & tenor saxophones, bass clarinet), John O'Gallagher (alto saxophone), Frank Carlberg (piano), Johannes Weidenmueller (bass) and the leader Owen Howard (drums).

Drum Lore Vol. 2 offers up seldom heard originals by Philly Joe Jones and Joe Chambers, as well as popular works by Victor Lewis, Paul Motian and Tony Williams. The remainder of the recording is comprised of recent original compositions by the leader. Highlights include, "Hey, It's Me You're Talkin' To", one of Victor Lewis' most well known compositions; Joe Chambers' "Ungano" (from the Bobby Hutcherson Blue Note album, Medina); "Haiku", a composition that Howard composed at the piano in about ten minutes. "After stating the 5-7-5-syllable form, the soloists are free to interpret at will. It's quite different each time we perform it", said Howard; "Like Buttah","my take on rhythm changes, which incidentally pays homage to Sonny Rollins' 'Oleo' (which was a butter substitute back in the day)"; and "Got To Take Another Chance", "a fun little piece by Philly Joe Jones that is based on the chord changes of 'Take The 'A' Train'. I extracted the horn riff and ending bit from the Max Roach/Clifford Brown version of 'A Train' (from the record, A Study in Brown). I love Max's train ending on that cut. Straight up fun!," said Howard; "Mumbo Jumbo" by the late great Paul Motian, and "Pee Wee" by the legendary Tony Williams.

The birth of Drum Lore took place at a summer jazz workshop where Howard was one of the several "artists-in-residence". The drummer explains further, "As we were getting ready for a discourse on the finer points of our various approaches to composition, one of the participants said to me. 'Owen, why are you here? You're a drummer, and this is a composition class? Well, how does one answer a comment like that? Rather than being offended, I took it upon myself to dispel this myth that drummers can't, or don't, compose." The brilliant result was Drum Lore (released in 2010 on BJURecords), a recording of great stylistic diversity, dedicated to exploring compositions exclusively by many of the revered drummers of our time. As Joe Lovano has stated, "some of the hippest bandleaders and composers in jazz, have come from the drum chair"; so many that Howard now offers Drum Lore Vol. 2, and has at least several more CDs worth of music composed by drummers that he'd like to record, so be on the lookout for the possibility of "Drum Lore, Vol. 3" in the future.

www.BJURecords.com

Frank Kimbrough's Quartet spotlights the audacious pianist and composer and his handpicked band mates: Steve Wilson, Lewis Nash and Jay Anderson

A genuine artist follows the strict demands of his muse rather than any set of conventional expectations. If, thirty-plus years into his celebrated career, the pianist and composer Frank Kimbrough decided to record his first album featuring the traditional jazz instrumentation of piano, horn, bass, and drums, there had to be a good reason. Quartet (Palmetto Records, PM2173), featuring alto and soprano saxophonist Steve Wilson, drummer Lewis Nash and bassist Jay Anderson, proves that for a relentlessly creative musician such as Kimbrough, following one's instincts offers up the best results.

Despite the surface familiarity of its ensemble format, Quartet (Kimbrough's 12th album as a leader and 7th for Palmetto) displays the pianist and his handpicked team at their most adventurous, creating music that revels in improvisational freedom while making fruitful use of the still profitable tools of the jazz tradition. Seven characteristically personal Kimbrough originals share space with exceptional reinterpretations of Kurt Weill's "Trouble Man," Rodgers and Hart's "It Never Entered My Mind" and John Lewis's  "Afternoon In Paris."

The exemplary balance of introspective lyricism and spiky, open form improvising that has marked Kimbrough's musical approach in his acclaimed work with, among many others, Maria Schneider, Ben Allison, Ted Nash and Noah Preminger, lends Quartet its distinguishing yin/yang atmosphere of ease and daring. "The Call," "Blue Smoke," "Kudzu,"  "Herbivore" and "Ode" slip, slide and swing, evading strict time and rigid harmonic forms, inspiring telepathic group interplay and biting solos, while the original ballads "November" and "Beginning" offer stunningly unpredictable melodic statements from Kimbrough and Wilson and sensitively prodding support from Nash and Anderson. And while "It Never Entered My Mind" and "Trouble Man" demonstrate that Kimbrough and company admire the exquisite compositional architecture of the masters, the quartet's take on "Afternoon In Paris" offers up a loose and stimulating deconstruction of John Lewis's standard. As Kimbrough devotees might note, "Ode" previously appeared on his Lullabluebye album, while "Beginning" debuted on Play, which featured the iconic drummer Paul Motian. "Herbivore" was written in the 1990s for Kimbrough's Noumena band but went unheard until this recording.

Kimbrough's exceptional playing throughout Quartet fully demonstrates the maturity of a seasoned musician who, having fully assimilated such signal influences as Paul Bley, Andrew Hill and Shirley Horn, is able to express himself organically in his own, now distinctive, instrumental voice. "As I've grown over the years, I find that I want to move listeners, not impress them," Kimbrough states. "By now the piano is who I am. I don't want technique to be a liability - I want to be able to convey what's in the moment. To be honest, to be vulnerable in my playing is what I'm most interested in."

"I chose the musicians on this recording because I trust their judgment. From the first note they play you can feel the depth, the lyricism, the respect for musical space they all have. Between us there's over two hundred years of experience - you have to trust that. I've found as a leader that the more freedom you give players to be themselves, the more of themselves they will put into the music."

The roots of Quartet extend back to the late 1970s when Kimbrough and Nash met as students at Arizona State University. Three decades passed until Kimbrough and the now-omnipresent drummer reunited as players in Ryan Truesdell's Gil Evans Project. Steve Wilson and Jay Anderson - both men A-list jazz figures - also participated as members of that ensemble, continuing associations with Kimbrough that included working together in the acclaimed Maria Schneider Orchestra. As a linchpin in the pianist's various trios, Anderson has been a close associate of Kimbrough for over twenty years.

Frank Kimbrough has recorded twelve albums as a leader and has co-led recordings with duet partner Joe Locke and with the Herbie Nichols Project. He has appeared on over sixty-five albums with other artists, including Maria Schneider's 2013 Grammy-winning Winter Morning Walks. Kimbrough has been on the faculty of the Juilliard School of Music since 2008.

http://home.earthlink.net/~fkimbrough/

Saxophonist Nir Naaman Releases "Independence" / The breakthrough debut features George Cables, Gregory Hutchinson and Marcus Printup

An artistic tradition is no longer valid when it fails to inspire burgeoning artists. Judging from Independence, the debut album by saxophonist Nir Naaman, the jazz tradition is still very much alive and capable of inspiring exciting new creations. A forthright instrumentalist and composer who draws from the wellsprings of Postwar jazz styles, Naaman has carved out his own distinctive voice on tenor, alto and soprano saxophones, and devises tunes that are as shrewd as they are inviting to hear. 

Employing such first rate musicians as the iconic pianist George Cables, the drummer Gregory Hutchinson, the bassist Dezron Douglas and the trumpeter Marcus Printup, Naaman demonstrates that seeds extracted from bebop, hard bop and Coltrane-inspired sources continue to yield succulent fruit. As the album titles states, Naaman, after working with celebrated artists including Eddie Marshall, Terri Lynne Carrington, Joanne Brackeen, Dave Samuels and Winard Harper, is ready to stake his own claim as a maturing musician. Born and raised in Israel, Naaman is now living and working in the country from which the music he's enraptured with was itself born.

Although Independence does feature a pair of evocative readings of standards - a spirited group turn on "The Very Thought Of You" and an expressive duet between the leader and Cables on "Polka Dots and Moonbeams" - the other eight tunes are Naaman originals. This finely crafted work displays Naaman's sure hand as a composer, and, as each piece was specially crafted to feature a different horn, allows the listener to bask in his individuality and confidence as a multifarious player. As befits a saxophonist attuned to the majestic tones of such masters as John Coltrane, Dexter Gordon and Joe Henderson, Naaman exhibits his command of the tenor horn on "Ohali Blues," "Polka Dots and Moonbeams" and "Independence," each a shining example of his surity and brio in work of varying tempos and moods. Of particular interest is another tenor feature, "Eshal Elohai/ Shalom Shabazi," an adaptation of Yemenite Jewish songs that Naaman has been familiar with since he was a child.

As George Cables (who, in addition to his superb keyboard contributions, also acted as the album's producer) states in his liner notes, " One of the most important things about jazz is that it is a living music which offers an open invitation for musicians to incorporate their own musical and cultural influences, whatever they may be. Nir's inclusion of  "Eshal Elohai," which is part of his tradition is a fantastic case in point." And, as Naaman points out, the contributions of Cables, Hutchinson and Douglas - each finding a way into the Middle Eastern idiom through his own idiomatic instrumental voice - adds yet more varied and personal flavor to the polyglot performance.

Naaman's ace may be his ability to wield two other horns with equal dexterity and individuality. His fine soprano work can be heard on two of his most lyrical pieces, "Winter Sun" and Dream," while his creative and commanding work on alto is exhibited on  "Fall," "Dilemma" and "The Very Thought Of You." The album concludes with another spotlighted alto performance, "New Orleans Twist," Naaman's jaunty second line groove salute to the spiritual birthplace of jazz. Throughout the album, the featured saxophonist receives rousing and sensitive support from all involved. (In addition to Cables, Hutchinson, Douglas and Printup, Naaman is joined by the pianist Roy Assaf and the drummer Ulysses Owens Jr. on a handful of performances.)

"Making this album gave me a chance to explore different sides of my musical personality," Naaman states. "I wanted to explore different moods and textures, yet never lose the overall coherence of the project. Working with these great musicians gave me that chance."

Born and raised in Israel where he served as a lead alto saxophonist in the Israeli Air Force Band, Naaman moved to the U.S. in 2004 and went on to graduate from the Berklee College of Music, furthering his studies at Purchase College where he received a master's degree in Jazz Studies. In the spring of 2010, Naaman took part in the Betty Carter Jazz Ahead program at the Kennedy Center For the Arts in Washington, D.C. where his mentors included Dr. Billy Taylor, Nathan Davis, Curtis Fuller and George Cables. Naaman has performed throughout the United States, Europe, Israel and Japan with various ensembles. He leads a New York-based quartet and splits his time between New York City and Boston where he is enrolled in the Doctor of Musical Arts program at New England Conservatory.

www.nirnaaman.com

Branford Marsalis To Release "In My Solitude: Live at Grace Cathedral" Available October 21

Branford Marsalis continues to prove that there is no context too large or small to contain his gifts. A reigning master of the jazz quartet format, dedicated champion of the duo setting, in-demand soloist of classical ensembles both chamber and orchestral, and session-enhancing special guest on an array of rock, roots and pop performances over the course of his career, his ever-broadening creativity and instrumental command have created the profile of a multi-dimensional musician with few peers among contemporary performers.

One setting notably absent from Marsalis' resume until now has been the unaccompanied solo concert. This most daunting of formats poses particular challenges that were met with his signature blend of serious intent, technical rigor and emotional directness when Marsalis brought his soprano, alto and tenor saxophones to Grace Cathedral on October 5, 2012. This San Francisco landmark, the site of Duke Ellington's Sacred Concerts in the Sixties and, since 1983, home to recitals at the centerpiece of the annual San Francisco Jazz Festival, proved an ideal setting for a program spanning early and post-bop jazz, baroque and contemporary classical music and spontaneous improvisation. The results can be heard on In My Solitude: Live at Grace Cathedral, the new album that Marsalis is releasing on his Marsalis Music via OKeh Records imprint on October 21, 2014.

As might be expected from someone with such a refined appreciation of musical excellence, Marsalis prepared by listening to solo recordings by a range of preferred artists, including Sonny Rollins, Steve Lacy and Sam Newsome from the jazz world as well as Anner Blysma, Angela Hewitt and Arno Bornkamp among classical players. He also committed himself to a program that transcended blatant displays of virtuosity. "From my time playing r&b and rock and roll, I can listen like a casual listener," he notes, "but the challenge for 80% of any audience, for any kind of music, is hearing melody and improvisation based on melody. Playing a lot of notes can be impressive at first, but will quickly make every song sound similar. So everything I played at Grace Cathedral was based on songs with great melodies, not being too `notey,' and utilizing the feeling in the room."

Getting the most out of the moment may be illustrated most clearly on "Improvisation No. 3," where Marsalis' tenor saxophone engages in conversation with a passing siren, while each of the 11 tracks reflects his appreciation of the vast cathedral space. "Every room has a sound of its own," Marsalis emphasizes. "There's a difference between playing in the Village Vanguard, and Alice Tully Hall in Lincoln Center, and Royal Festival Hall in London; and there is definitely a difference playing in Grace Cathedral, with its seven-second delay. Playing solo interludes in other rooms where my quartet performs was not going to prepare me. I had to hear that Grace

Cathedral sound in my head."

The melodies Marsalis chose for inspiration include two of his own, "The Moment I Recall Your Face" and "Blues for One," Hoagy Carmichael's uberstandard "Stardust," Steve Lacy's "Who Needs It?", a movement from a baroque sonata by Carl Philipp Emanuel Bach, and "I'm So Glad We Had This Time Together," the closing theme of Carol Burnett's classic television show. One of the biggest challenges and clearest signs of Marsalis's evolving mastery is his interpretation on alto saxophone of "MAI," a through-composed piece by Japan's Ryo Noda that tests the mettle of the most accomplished recital-hall saxophonists. "This is a great piece, with multiphonics and other fingerings not typical for the saxophone, that captures the spirit of the shakuhachi, the bamboo flute on which a purely Japanese form of music has been created. While I was in Japan recently, a friend gave me a tour of sorts in which I heard the instrument played in a variety of settings, which helped me to appreciate that patience, rather than getting to the point as quickly as possible, is everything. I wanted to honor the original intent of Noda's music, and I knew that the audience would relate to the sound of the piece in Grace Cathedral."

Marsalis also determined to balance the program with four improvisations, each of which sustains the mood of deep feeling and melodic coherence. "Musical spontaneity, like spontaneity in any language, has to be within a context to be meaningful," he emphasizes, "and the more music you know, the more spontaneous you can be. So I went out on stage with spaces intentionally left in the program, where I could create improvisations clearly based both on what I had just played and the feeling of the room and the audience."

Regardless of its starting point, each track confirms that, whether playing soprano, alto or tenor saxophone, Marsalis possesses one of the warmest, most direct and expressive sounds of any instrumentalist. "My main concern has been eliminating any shakes in my tone, and classical practice helps a lot with that," he says, "but otherwise I don't think about creating something people will think of as my sound. When it's time to play the gig, I just let it happen."

"Playing a solo concert is just hard," Marsalis admits. "After a gig, I'm usually happy to spend time with friends, but after the Grace Cathedral concert I just wanted to go to sleep. After all, if I have an off night with my band, Joey [Calderazzo], Eric [Revis] and Justin [Faulkner] will pick up the slack. But this was just me."

Yet no reinforcements were required. In My Solitude: Live at Grace Cathedral is both intensely introspective and accessible without compromise, a singular achievement in the singular career of Branford Marsalis.

Branford Marsalis has stayed the course. From his early acclaim as a saxophonist bringing new energy and new audiences to the jazz art, he has refined and expanded his talents and his horizons as a musician, composer, bandleader and educator - a 21st Century mainstay of artistic excellence.

Growing up in the rich environment of New Orleans as the oldest son of pianist and educator Ellis Marsalis, Branford was drawn to music along with siblings Wynton, Delfeayo and Jason. His first instrument, the clarinet, gave way to the alto and then the tenor and soprano saxophones when the teenage Branford began working in local bands. A growing fascination with jazz as he entered college gave him the basic tools to obtain his first major jobs, with trumpet legend Clark Terry and alongside Wynton in Art Blakey's legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quintet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and, with a few minor interruptions in the early years, has sustained the unit as his primary means of expression.

Branford has not confined his music to the quartet context. In addition to guest turns with a legion of giants including Miles Davis, Dizzy Gillespie, Herbie Hancock and Sonny Rollins, he has excelled in duets with several major pianists, including his boyhood friend Harry Connick, Jr. and the longtime pianist in his quartet, Joey Calderazzo. Branford's first solo concert, at San Francisco's Grace Cathedral, is documented on his latest recording, In My Solitude. Branford has also shared his knowledge as an educator, forming extended teaching relationships at Michigan State, San Francisco State and North Carolina Central Universities and conducting workshops at sites throughout the United States and the world.

Classical music inhabits a growing portion of Branford's musical universe. With a repertoire including works by Copland, Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem, Vaughn Williams, Villa-Lobos and Sally Beamish, Branford is frequently heard with leading symphony orchestras including those in Chicago, Detroit, Dusseldorf and North Carolina as well as the New York Philharmonic. He also served as Creative Director for the Cincinnati Symphony's Ascent series in 2012-13.

Broadway has also welcomed Branford's contributions. His initial effort, original music for a revival of August Wilson's Fences, garnered a Drama Desk Award for Outstanding Music in a Play and a Tony nomination for Best Original Score Written for the Theater. Branford also provided music for The Mountaintop, starring Samuel L. Jackson and Angela Bassett, and served as musical curator for the 2014 revival of A Raisin in the Sun.

Some might gauge Branford Marsalis's success by his numerous awards, including three Grammys and (together with his father and brothers) his citation as a Jazz Master by the National Endowment for the Arts. To Branford, however, these are only way stations along what continues to be one of the most fascinating and rewarding journeys in the world of music.

Upcoming Branford Marsalis Tour Dates: all dates are with the Philadelphia Chamber Orchestra unless otherwise noted

September 27 / SUNY Purchase Concert Hall (with Quartet) / Purchase, NY

October 4 / Meany Hall @ University of Washington / Seattle, WA

October 5 / Mount Baker Theatre / Bellingham, WA

October 8 / Van Duzer Theatre at Humboldt State / Arcata, CA

October 9 / Laxson Auditorium at CA State University / Chico, CA

October 11 & 12 / Three Stages at Folson Lake College / Folsom, CA

October 15 / Sidney Harman Hall / San Luis Obispo, CA

October 16 / Wallis Annenberg Center for the Performing Arts / Beverly Hills, CA

October 17 / Sherwood Auditorium / San Diego, CA

October 18 / UNLV Performing Arts Center / Las Vegas, CA

October 19 / Scottsdale Center for the Performing Arts / Scottsdale, CA

October 21 / Oxford Performing Arts Center / Oxford, AL

October 22 / Legacy Hall at River Center for the Arts / Columbus, GA

October 23 / Charleston Music Hall / Charleston, SC

October 24 / Dale F. Halton Theater / Charlotte, NC

October 25 / Virginia Tech center for the Arts / Blacksburg, VA

October 26 / Otis A. Singletary Center for the Arts / Lexington, KY

October 28 / Osterhout Concert Theater / Binghamton, NY

November 1 / Kean University / Hillside, NJ

November 2 / State Theatre Regional Arts Center / New Brunswick, NJ

December 31 / Terrace Theater @ Kennedy Center (with Quartet) / Washington, DC

Bette Midler Announces New Album "It's The Girls" Scheduled For Release In November

Grammy Award winning singer and legendary performer Bette Midler returns to the studio to release ‘It’s The Girls!’, a stunning new album that pays tribute to girl groups through the ages. ‘It’s The Girls!’ is a jaunty and celebratory collection of some of the greatest harmonies performed by girl groups such as The Ronettes, The Boswell Sisters, The Andrew Sisters, The Chiffons as well as Motown acts like Martha Reeves and The Vandellas, and The Marvelettes, among others. The album is due out on Warner Bros. Records November 4th, 2014 and East West Records / Warner Music UK on November 17th, 2014.

“A long time ago I fell in love with voices in harmony,” said Midler. “In particular, the sound of female voices singing together. There were so many great girl groups in those days, I still listen as avidly as I ever did. This record is a small attempt to honor them for all the joy they brought to me and the world.”‘It’s The Girls!’ reunites Bette Midler with long-time collaborator and Award-winning composer Marc Shaiman who produced the album. ‘It’s The Girls!’ features 15 songs that span time from The Andrews Sisters’ original performance of Bei Mir Bist Du Schön in 1937 to R&B group TLC’s 1994 hit song, Waterfalls. On the title track, Midler offers a brilliant rendition of The Boswell Sisters (known for their unpredictable harmonies and key changes) tempo-shifting pop classic It’s The Girl. The album effortlessly showcases Midler’s distinctive and versatile vocal range while honoring timeless classic melodic harmonies.

One of the world's best-loved and most versatile entertainers, Bette Midler has garnered accolades in all quarters of show business. She's earned four Grammy Awards including Song of the Year (1989: Wind Beneath My Wings; 1990: From A Distance) and Record of the Year (1989: Wind Beneath My Wings); two Academy Award nominations, three Emmy Awards, one Tony Award, three Golden Globe Awards, and nine American Comedy Awards. Bette Midler has recorded 13 studio albums and has gone on to sell over 30 million albums worldwide.

Details for Bette Midler’s forthcoming tour will be announced soon.

The songs on the album ‘It’s The Girls!’ are as follows:

01 / BE MY BABY Originally performed by The Ronettes

02 / ONE FINE DAY Originally performed by The Chiffons

03 / BEI MIR BIST DU SCHÖN Originally performed by The Andrews Sisters

All Vocals by Bette Midler

04 / BABY IT'S YOU Originally performed by The Shirelles

All Vocals by Bette Midler

05 / TELL HIM Originally performed by The Exciters

06 / HE'S SURE THE BOY I LOVE (duet with Darlene Love) Originally performed by The Crystals

07 / MR. SANDMAN Originally performed by The Chordettes

08 / COME AND GET THESE MEMORIES Originally performed by Martha & The Vandellas

09 / TOO MANY FISH IN THE SEA Originally performed by The Marvelettes

10 / TEACH ME TONIGHT Originally performed by The DeCastro Sisters

11 / WATERFALLS Originally performed by TLC

12 / YOU CAN'T HURRY LOVE Originally performed by The Supremes

13 / GIVE HIM A GREAT BIG KISS Originally performed by The Shangri-Las

14 / WILL YOU STILL LOVE ME TOMORROW Originally performed by The Shirelles

15 / IT'S THE GIRL Originally performed by The Boswell Sisters

All Vocals by Bette Midler

NEW RELEASES: WALDO – LOVE DON’T GROW ON TREES; ALI CAMPBELL - SILHOUETTE; FREDDY COLE - SINGING THE BLUES

WALDO – LOVE DON’T GROW ON TREES

Waldo was a studio band put together by super producers, Willie Lester & Rodney Browne. The duo produced for R&B greats such as Bobby Thurston, Gayle Adamas, Khemistry, The Modulations, Al Johnson, Esther Williams, Evelyn King, Sharron Redd to name a few. The super producers only recorded this one magical album which was disappointing that they released any more gems. Love Don t Grow On Trees is a mixture of uptempo funky grooves with a couple of delicious soulful mid tempo tracks that showcase the producers natural talents, not forgetting a tight and infectious production. Love Don t Grow On Trees for quite simply, the music speaks for itself. This timeless album sounds as good now as it did back in the day. Enjoy the magic! Overall Sun Goddess is a great title for jazz lovers or anyone who wants to slip back down memory lane and relax in the mid 70 s. Go ahead and put those platforms, bell bottoms, sunglasses and apple caps!! ~ Amazon

ALI CAMPBELL - SILHOUETTE

Silhouette is the new album from Ali Campbell, the legendary voice of UB40, reunited with Astro & Mickey. Recorded in London's renowned RAK Studios, the album is an inspired mix of freshly-minted new songs and sparkling, reggae-fied cover versions of classics by The Beatles, Bob Dylan, The Chi-Lites, and others. The title track, Silhouette, was originally a 1957 hit for American doo-wop group The Rays, though this new, yearning take owes more to an early 1970s version by the crown prince of reggae, the late Dennis Brown.  As founding members of UB40, Ali, Mickey, and Astro helped to define reggae music for a generation. The iconic Birmingham reggae troupe topped the UK singles chart on three occasions, and sold 70 million records as they took their smooth yet rootsy musical blend to all corners of the globe. Campbell left the band in 2008, after 29 years, and has since released four reggae-themed solo collections with Mickey, who left UB40 soon after Ali, joining him on keys. Astro remained with the band until November 2013, when he left to team up again with Ali and Mickey.  Ali's voice remains as strong as ever: rich, melodic, and instantly recognizable. He s a genius in the way he can work a set of lyrics around a great melody, says Mickey. Any song he sings could easily be a UB40 tune. ~ Amazon

FREDDY COLE - SINGING THE  BLUES

In Singing the Blues, Freddy Cole pays tribute to the people, places and performing spaces that shaped his life and career. Revisiting some of brother Nat's forays into the blues, Cole also offers a few surprises such as "The Ballad of the Sad Young Men" and Steve Allen's "An Old Piano Plays the Blues." You can always expect something fresh and unique from master song stylist Freddy Cole even when you thought you already knew everything about the blues.  Includes: Muddy Water Blues, This Time I'm Gone For Good, Another Way To Feel,  Goin' Down Slow, Meet Me At No Special Place, All We Need Is a Place, My Mother Told Me,  Singing the Blues, The Ballad of the Sad Young Men, Pretending, and  An Old Piano Plays the Blues. ~ Amazon