MARILYN SCOTT'S GET CHRISTMAS STARTED! IS A HOLIDAY PARTY ALBUM

We’re going to answer the question before you even ask it: the reason that you need one more Christmas album - we’re speaking of Marilyn Scott’s new release, Get Christmas Started, here is that the critically acclaimed

song stylist has invited you to a party, her party. And we’re not talking cheap seats in the back; it’s an all-access pass to the premier musical bash of the season. While other collections this time of year (and from seasons past) may have their moments, Marilyn Scott has crafted the first-ever actual holiday party album, and one with an all-star

backing cast to boot.

Like any great hostess, Ms. Scott has prepped meticulously for the celebration. Marilyn consciously began adding a

new holiday tune into her Christmas season sets each year, the best of which form the heart and soul of Get Christmas Started. Drawing on sources far and wide, including Broadway legend Frank Loesser, Rock and Roll Hall of Fame inductee Leon Russell, and Motown hitmaker Anna Gordy Gaye, Scott takes time-tested holiday standards and does what she does best: reinvents them in her own instantly-recognizable style.

“I have always loved the old R&B and spiritual renditions of Christmas music,” says Scott, and the truth of that statement is evident from the Philly Soul vibe she establishes right from the album’s opening track, “This Christmas.” She digs into a bluesy groove in “Christmas in Chicago,” with just a dollop of New Orleans funk at its core. And by the time she segues into “That’s What Christmas Means to Me,” it’s evident that Ms. Scott studied at the school of Hitsville, U.S.A., with a bouncy backbeat that does Motown’s Funk Brothers’ sound proud.

If all this gives you the idea that Marilyn’s well travelled, both musically and otherwise, you’d be correct. At the tender age of 17, the Southern California native trekked north for the legendary Monterey Pop Festival, where she was exposed to the likes of Janis Joplin, Otis Redding, and Lou Rawls; at that point, the die was cast. Upon her post-collegiate return to LA, Marilyn found herself an in-demand vocalist, doing sessions and performing with the Yellowjackets, Hiroshima, Bobby Womack, George Duke and Etta James, among others.

Since then, Scott’s career has ranged all over the musical map, boasting entries on the Billboard Hot 100, Adult Contemporary, R&B Singles, Contemporary Jazz, and Jazz Album charts. Her cover of Burt Bacharach's "The Look of Love" garnered a Grammy nomination for producer George Duke on its way to the top of the charts. And from an interpretation of ”Skylark” in Torch Song Trilogy that was lauded by critic Christopher Loudon as “the most perfectly executed ‘Skylark’ I'd ever heard“ to her magnificent re-imagining of ”I Only Have Eyes For You” in Twins, Scott’s soundtrack career has brought her both critical and commercial acclaim as a world-class interpreter of music.

Which brings us back to today. Nearly half a century after the late Vince Guaraldi co-wrote “Christmas Time is Here” for A Charlie Brown Christmas, Scott has laid her stamp on the modern classic, aided by some super soulful sax accompaniment from Brandon Fields. Her mellow sophistication on the lead-off single from Get Christmas Started brings out the tune’s essential wistfulness, warm and sweet like an Irish coffee on a cold winter’s night.

But not to worry: Marilyn closes out the album with a kick-out-the-jams version of “Rudolph, the Red-Nosed Reindeer” that blazes through that winter night even more luminously than the reindeer’s famed nose. “We all enjoyed the lighthearted, and soul-wrenching, songs of the season,” says Scott. “Now that’s the way to start the holidays.” 

Also appearing on the album are: Brandon Fields (tenor sax); Eric Marienthal (tenor sax); Greg Adams (trumpet); Lee Thomburg (trumpet); Johnnie Bamont (bari sax); Wayne Linsey (keys, organ); Larry Kimpel (bass); Mike Miller (guitar); Kevin Ricard (percussion); and Lori Petty, Carolyn Perry, Sharon Perry (backing vocals).

MATT HOLMAN, JEREMY UDDEN, JARRETT CHERNER, MARTIN NEVIN & ZIV RAVITZ RELEASE SKETCHES: VOLUME 2

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.

 

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.

www.Sketchesmusic.com

PIERS FACCINI AND VINCENT SEGAL - SONGS OF TIME LOST

Piers Faccini and Vincent Segal met in Paris in the late 1980s and have been friends ever since. Songs of Time Lost is their first joint album. Using voice, guitar and cello and a variety of languages (including English, Neapolitan dialect and Creole), the album brings together original compositions, traditional songs and some covers. “It feels like a reunion,” says Vincent, “even though we never really lost touch over the years.”

At the time of their original meeting, Piers was a painter and student at the Paris Beaux-Arts and Vincent had just left the Conservatoire. Vincent was immediately taken by Piers’ vocals: “I wanted to find ways to support his voice, to envelop his words.” Piers later went on to launch his first solo album in 2004, Leave No Trace, which Vincent produced. His many subsequent solo releases have drawn rave reviews from critics around the world, including his most recent album, Between Dogs and Wolves, which was released in North America by Six Degrees Records in 2013. Meanwhile, Vincent started to develop his band Bumcello, as well as a myriad of other projects, including the popular album, Chamber Music, recorded with kora master Ballaké Sissoko.

Songs of Time Lost weaves together many musical strands, made up of both artists' diverse influences. There is the blues that Piers first heard from Mississippi John Hurt (“Make Me a Pallet on Your Floor”), a composition by Alain Peters from the island of La Réunion (“Mangé pou le coeur”), a country waltz by Townes Van Zandt (“Quicksilver Daydreams of Maria”) and an instrumental theme by the Berlin composer Friedrich Holländer (“Wenn ich mir, was wünschen dürfte”). There are also the melodies of the traditional Neapolitan repertoire, which are favorites of Piers, who is of Anglo-Italian lineage (“Jesce sole,” “Villanella di cenerentola,” “Dicitencello vuje,” “Cicerenella” and the contemporary “Cammina cammina” by Pino Daniele).

Both musicians also draw from their own repertoires for the album. This includes two songs dating back to 1996, which Piers originally wrote for a film soundtrack (“A Half of Me” and “The Closing of Our Eyes”). There are also two recent compositions by Vincent (“Cradle to the Grave” and “Everyday Away from You”), which Piers added lyrics to. The first has a New Orleans-style riff that would not feel out of place on an old Allen Toussaint record and the latter seems to conjure up the soft refrains of Brazilian guitarist Luiz Bonfá.

In short, Songs of Time Lost is a fine balance between inspiration and influence. It is the meeting point of the music one inherits from the great masters and the music one writes oneself.

 

NEW RELEASES: THE DON GARNER QUINTET- RHYTHM & BLUES DANCE PARTY; FUMACA PRETA; RED TRIO & MATTHIAS STAHL - NORTH AND THE RED STREA

THE DON GARNER QUINTET FEATURING DEE DEE FORD / BEVERLY GLENN - RHYTHM & BLUES DANCE PARTY

A blazing live set from The Don Gardner Quintet – recorded live a Stockholm's Dans In in August of 1965 – and a pretty great mix of drums and organ-heavy jazz and the Rhythm & Blues Dance Party promised by the titles! The group is fantastic – with Gardner holding down on the drums and Dee Dee Ford really standout out strongly on organ – and the two also contribute some vocals. Other players include Bill Leslie and Jimmy Ricks on saxes and Nat Stokes on guitar. Guest singer Beverly Glenn contributes some great, almost show-stealing soul vocals on "Shotgun" and "Heatwave", and other numbers include "Walkin'", "I Don't Want To Cry", "Watermelon Man", "Shiny Stockings", "Julep". "I Don't Need You Anymore" and "Last Dance". ~ Dusty Groove

FUMACA PRETA - FUMACA PRETA

Heady psych, but with a funky groove from Fumaca Preta – a contemporary group on Soundway, and truly akin to the global psych funk of late 60s and 70s we've always loved from the label! Fumaca Preta founder/percussion/vocalist Alex Figueira is Portuguese-Venezuelan and based in Amsterdam – and the music here is heavily influences by some most tripped-out global sounds of the 70s onward. Lots of heavy fuzz guitars, wild-eyed vocals and echoey effects – and just when you think it's about to spiral out of control, the funky rhythms and percussion rein it back in. Titles include "Pupilas Dilatadas", "Toda Pessoa", "Eu Era Um Cao", "Voce Enlouqueceu", "Recitando A Toa", "Espelhos Fundidos", "Vou Me Libertar", "Tire Sua Mascara" and "Perdidos".~ Dusty Groove

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RED TRIO & MATTHIAS STAHL - NORTH AND THE RED STREAM

Vibist Matthias Stahl joins the Red Trio here – in a set of three long tracks that really build up from these beautiful blocks of sound! Stahl's vibes mix with the piano of Rodrigo Pinheiro – in ways that echo, then transform an older John Lewis/Milt Jackson quality from the MJQ – referencing a past, but quickly moving forward – with subtle sonic support from Hernani Faustino on bass and Gabriel Ferrandindi on drums. The music was recorded live, but has a very personal sonic sort of feel – and titles include "North", "Red", and "Stream". ~ Dusty Groove

NEW RELEASES: ADAM LANE’S FULL THROTTLE ORCHESTRA - LIVE IN LUBLJANA; KONSTRUKT & JOE MCPHEE - BABYLON; TONY MALABY / WILLIAM PARKER / NASHEET WAITS – SOMOS AGUA

ADAM LANE’S FULL THROTTLE ORCHESTRA - LIVE IN LUBLJANA

Adam Lane's group is definitely working full throttle here – in a bold, soulful blend of horns that are given lots of direction by Lane's strong work on bass! The music often has this modal sort of vibe – building up a groove at the start, like some hip 70s ensemble on MPS – as Lane gets an especially strong presence in the mix, which really keeps things moving strongly throughout – with additional driving work on drums from Igal Foni. The groove is usually straight, with some great breakout solos – almost a hipper underground take on the spirit of the Clark Boland Big Band, particularly in some of its smaller ensembles. Players include Nate Wooley and Susana Santos Silva on trumpets, Reut Regev on trombone, David Bindman on tenor and soprano sax, Avram Fefer on alto, and Matt Bauder on baritone – on titles that include "Empire Of Music", "Sanctum", "Ashcan Rantings", "Multiply Then Divide", and "Power Lines/Feeling Blue-ish".  ~ Dusty Groove

KONSTRUKT & JOE MCPHEE - BABYLON

The legendary Joe McPhee joins forces with this underground Turkish group – adding in his own tenor and pocket trumpet to their freewheeling blend of moogs, reeds, organ, guitar, bass, and drums! There's a fair bit of electric instrumentation in the mix – but all of it is played at a level that's as free and improvisational as the acoustic elements – although McPhee himself is clearly the standout throughout – a bold, confident voice that rises above all the other musicians, especially when he really gets going on tenor! Titles include "Flyswatter", "Involution", "Tek'e", and "Simple Questions/Complex Answers". ~ Dusty Groove

TONY MALABY / WILLIAM PARKER / NASHEET WAITS – SOMOS AGUA

Tony Malaby brews up some heady work on tenor and soprano sax – often with tones more than deep enough to match the wonderful bass work of William Parker in the trio! Parker plays his instrument with a bow at some key points – and creates these dark waves that really sharpen the edge of Malaby's horns, especially his tenor – and Nasheet Waits drums with a very sensitive touch – rattling things up when needed, but also laying back often to let Tony dominate the sound. Titles include "Mule Skinner", "Little Head", "Somos Agua", "Can't Find You", "Bitter Dream", and "Loretto". ~ Dusty Groove

NEW RELEASES: WILLIAM HOOKER & LIUDAS MOCKUNAS - LIVE AT VILNIUS JAZZ FESTIVAL; PHAROAH AND THE UNDERGROUND - PRIMITIVE JUPITER; FLYING LOTUS – YOU’RE DEAD!

WILLIAM HOOKER & LIUDAS MOCKUNAS - LIVE AT VILNIUS JAZZ FESTIVAL

Spacious, open duets between drummer William Hooker and saxophonist Liudas Mockunas – recorded live, and in a way that really builds up the sound in slow, thoughtful passages throughout! Hooker's at his most subtle at the start of each selection – almost tentative in the way he feels out the drum kit with his touch, resulting in some very organic sounds – then spurred on more by the inventive sounds from Mockunas on alto, tenor, and soprano sax – sometimes at a very far-reaching sonic level, sometimes more inside and soulful! The set features four long tracks – "Id", "Idea", "Ideal", and "Idol". ~ Dusty Groove.

PHAROAH AND THE UNDERGROUND - PRIMITIVE JUPITER

The legendary Pharoah Sanders joins the Chicago/Sao Paulo Underground – and the result is one of the most striking records in years from everyone involved! Pharoah blows with this really open, searching sort of tone – wonderfully concerned with sound texture at points, and not nearly as straight a some of his other sessions in recent decades – definitely drawing strong inspiration from the freewheeling work of Rob Mazurek on cornet, flute, and electronics – with additional electronics from Guilherme Granado. Drummer Chad Taylor provides a firm grounding for the experiments – as does bassist Matt Lux – and the group gets some Sao Paulo touches touches Mauricio Takara, who also plays percussion as well. Tracks are all relatively long – cosmic and open, with a stunning mix of acoustic and electric elements – and titles include "Spiral Mercury", "Primitive Jupiter", "This One's For All Mothers", and "Asasumamehn" – two of which are not on the CD!  ~ Dusty Groove

FLYING LOTUS – YOU’RE DEAD!

Flying Lotus is not only very much alive on You're Dead! – he's as lively as ever – delivering his best, most diverse record to date! The Flying Lotus sound is in peak form here – glitchy beats and spacey keyboards, deftly layered samples, and carrying boundless influences from cosmic soul jazz to leftfield hip hop! An impressive guest roster from both realms participate – with appearances by Herbie Hancock (!!!), Kendrick Lamar, Snoop Dogg, frequent collaborator and stylistic sibling Thundercat, strings arranger Miguel Atwood Ferguson and others. Standout moments include the tracks "Tesla" and "Moment Of Hesitation", both with some incredible keyboards by Herbie Hancock, plus the uber-moody, Ennio Morricone-sampled "Turtles" – but the whole thing is great, and shows that the Flying Lotus phenomenon is still in ascension, circa 2014. Other cuts include "Cold Dead", "Never Catch Me" with Kendrick Lamar, "Dead Man's Tetris" with Snoop Dogg, "Turkey Dog Coma", "Stirring", "Obligatory Cadence", "The Protest" and more. ~ Dusty Groove

NEW RELEASES: RAY CHARLES & MILT JACKSON - SOUL BROTHERS MEETING; AUDREY MARTIN - LIVING ROOM; RICHARD "GROOVE" HOLMES - SOUL MESSAGE

RAY CHARLES & MILT JACKSON - SOUL BROTHERS MEETING

Recorded in New York on between 1957 & 1958. Includes original release liner notes by Gary Kramer & Bill Randle. Originally released separately as SOUL BROTHERS (Atlantic 1360) and SOUL MEETING (Atlantic 1279).2 LPs on 2 CDs. Both are available separately on cassette. These records are "cool" in the classic sense of the word: they swing, groove, whisper and discuss with the sophisticated yet down-home relaxation of a late-night session. While Milt Jackson's work with the Modern Jazz Quartet represents a kind of bebop perfection, the truism about the MJQ has always been that it's Jackson the irrepressible soloist and blues spirit that provides the ballast to John Lewis' more cerebral explorations of form and composition. At the same time, Ray Charles' reputation as the definitive gospel-inspired R&B shouter and bandleader overshadows the facts of his jazz background and impressive musicianship. This is a guy, after all, who early in his career wanted to sound as much like Nat Cole as possible--and did, for a time, as both a singer and a pianist. So while these giants meet on the common turf of the blues on these two records, they bring a sharp jazz sensibility to the numerous and varied twelve-bar grooves here. Charles' stompin' bebop lines on the bonus track "Charlesville" are only one of the many revelations of this session. Reissue producer: Bob Porter. Personnel: Skeeter Best, Kenny Burrell (guitar); Ray Charles (alto saxophone, acoustic & electric pianos); Billy Mitchell (tenor saxophone); Milt Jackson (piano, vibraphone); Oscar Pettiford (bass); Connie Kay (drums); Percy Heath, Art Taylor. Producers: Nesuhi Ertegun, Jerry Wexler. ~ CD Universe

AUDREY MARTIN - LIVING ROOM

For some jazz singers, a song is a point of departure, a launching pad for extended improvisational flights with a band of fellow explorers. For Audrey Martin, songs are revelatory texts ripe for interpretation. Not every song, mind you. In building her repertoire, the Bay Area singer has gathered a treasure trove of material that resonates with her on a bone-deep level. Living Room, her consistently inspired ballad-centric debut album, finds Martin delving deeply into a highly personal array of material with a particular focus on groundbreaking women artists like Laura Nyro, Joni Mitchell, Abbey Lincoln, and Blossom Dearie. The first thing that stands out about Martin is her warm, luxuriant sound and supple phrasing. But what sets her apart is the probing emotional intelligence that she brings to the lyrics. It's rare indeed for a jazz artist to arrive on the scene as such a mature and fully realized artist. In Martin's case, it's because she's taken a long, indirect path to finding her voice.  While still practicing as a psychotherapist, she plunged back into her early love of singing in the late 1990s, studying at the Jazzschool in Berkeley. The key to her exponential growth as a performer was finding pianist Larry Dunlap, a master accompanist who provides lustrous support as a player and arranger. He connected her with the superlative rhythm section tandem of bassist John Shifflett and drummer Jason Lewis, who both share Martin's less-is-more aesthetic. A work of remarkable but unforced intimacy, Living Room introduces a singer who makes you hear familiar songs anew. -Andrew Gilbert (Andrew Gilbert writes for The San Francisco Chronicle, San Jose Mercury News, and other publications).~ CD Universe

RICHARD "GROOVE" HOLMES - SOUL MESSAGE

This mid-1960s soul-jazz collection features the trio of the organist Richard "Groove" Holmes, who, despite having been a working musician since the late 1950s, only came to public attention with his first hit, an uptempo reading of "Misty," included here. Holmes also performs a Latin-tinged version of Horace Silver's classic "Song For My Father," and the hip, swinging title track is a further display of his remarkable invention. Recorded on August 3, 1965. Originally released on Prestige (7435). Personnel includes: Richard "Groove" Holmes (organ); Jimmie Smith (drums); Gene Edwards. ~ CD Universe

 

KENNY GARRETT, JOHN SCOFIELD, MICHAEL BRECKER and DAVID FRIESEN - NO PARKING - TOW AWAY ZONE

This West Wind album, recorded at various studio sites in Seattle, WA, Portland, OR, Berkeley, CA, and New York City between 1987 and 1994, has Kenny Garrett as the leader, but a closer reveal might more accurately hand that title to David Friesen. The bassist is on five of the nine tracks, in duet performances with John Scofield, Michael Brecker, or Denny Zeitlin, while Garrett does lead the other four selections in larger ensemble contexts. 

Extraordinary musicianship is present throughout, making for an interesting musical experience, and with great appeal for fans who enjoy any of these talented musicians. Longtime friends Scofield and Friesen reunite for a somber take of "Old Folks" and a brighter "True Blue," Brecker's tenor sax joins the bassist for a great, spirited version of the Sonny Rollins classic "Airegin" and the heavy duty, hip neo-bop original "Signs & Wonders," with the two occasionally merging in tandem phrases. A final track for bass and piano with the brilliant Zeitlin allows them to interpret the great Wayne Shorter composition "Speak No Evil" over nine minutes with a symmetry and balance unparalleled in most duet recordings, especially over long lengths of time via the wonderfully inventive acoustic keyboardist. 

Garrett leads a sextet with less dominant trombonist Julian Priester, a pronounced Bill Frisell and sublimated Robben Ford on electric guitars. They do the sly Duke Ellington evergreen "Wanderlust" proud under a deep bassline by Anthony Cox, while the outstanding track of the album "The Oyster Dance" slips from 7/8 time to fractured beats at will in a funky yet scattered method quite reminiscent of Thelonious Monk. Another quintet with Steve Nelson and Mulgrew Miller offers up a different sonic challenge, as they do pianist Miller's "Wingspan" in hard bop fashion with Garrett's alto alongside Nelson's vibraphone in fully charged bright moments, while "Sonhos Do Brasil" offers a contrasting, sleek, and softer bossa nova style, with percussionist Rudy Bird as special guest. 

The listening skills of the larger ensembles is quite evident, while Garrett -- at this time a 27-year-old phenom -- is still learning his craft but growing very quickly in the company of these well-chosen super-pro partners. Drummers Jerry Granelli and Tony Reedus are especially notable for rhythmically moving things along quite nicely for Garrett and friends. This material deserves high marks simply for the great musicians participating, and though uneven, retains full intrigue in one-of-a-kind session status, any of which could have been full-blown concepts -- one of which (sigh) might have been a Garrett-Brecker project that is not here. ~ Michael G. Nastos / CD Universe

RAUL MIDON RELEASES LATEST ALBUM "DON'T HESITATE"

Raul Midón’s pointedly titled new album Don’t Hesitate demonstrates why—a dozen years and eight albums into a recording career that’s won him massive critical acclaim and a passionately devoted international fan base—he remains one of his era’s most distinctive and beloved recording artists.

A smoothly expressive singer, an emotionally insightful songwriter and an exciting, innovative acoustic guitarist, Midón maintains an expansive musical vision that’s led People magazine to call him “an eclectic adventurist” and Huffington Post to dub him “a free man beyond category... he plays with such freedom and joy that his hands smile.” The New York Times described him as “a one-man band who turns a guitar into an orchestra and his voice into a chorus.” Billboard called him, simply and aptly, “a virtuoso.”

His guitar playing is a syncopated, flamenco- and jazz-infused wonder in which bass, harmony and melodic lines fly from the fret board in a way that seems to belie the fact that all the music is being produced by just two hands. If that weren’t enough, Midón busts out his improvisational mouth-horn technique, in which he creates a bebop “trumpet” solo entirely with his lips, earning himself a spontaneous burst of mid-song applause from the audience in the process.

While Midón’s eclectic talents have won the admiration of fans and critics, they’ve also led to him collaborating with such musical heroes as Herbie Hancock, Bill Withers and Stevie Wonder; appearing on recordings by Jason Mraz, Queen Latifah and Snoop Dogg; and contributing to the soundtrack to Spike Lee’s She Hate Me.

The forward-thinking, habitually restless Midón continues to take on new creative challenges on Don’t Hesitate. The 14-song album finds his infectious, personally-charged songcraft as sharp and soulful as ever, manifesting an organic blend of R&B, jazz and Latin elements that accentuate the lyrical and melodic resonance of such memorable new tunes as “Libertad,” “Was It Ever Really Love,” “God’s Dream” and the rousing title track, as well as an inventive reboot of The Who’s classic-rock standard “I Can See for Miles.”

Don’t Hesitate is a musical and personal milestone for Midón, who took control of every aspect of the album’s recording process, despite being blind since birth. The artist cut all of the tracks in his home studio, playing most of the instruments himself and handling all of the project’s technical elements on his own, utilizing special computer software that enabled him to engineer the sessions.

“The whole process was unlike any other record I’ve made,” Midón explains. Don’t Hesitate finds the singer-guitarist adding producer-engineer to his portfolio of talents. “Most of it was done in my basement, and I dealt with all the technical issues myself. It began with me setting daily tasks, which was that when I’m not on the road, I’m going to get up every morning and work on music. And eventually I realized that I was making a record. It was a day-in, day-out process of working through problems and figuring things out; ‘OK, how do I make this happen, how do I get this to sound the way I want it to?’ And I had to learn to balance the technical concerns with all the normal creative things of getting your songs and performances right.”

“There’s not a whole lot of trickery involved in this album,” he adds, “but it still has that edgy, eclectic quality that I like, and I’m playing some instruments that I don’t really play. Like the charango—I have a beautiful charango and I don’t really know how to play it, but I figured out how to play what I wanted out of it.”

Although Midón handles most of Don’t Hesitate’s vocals and instruments himself, some notable guest artists stepped up to contribute to the album. He duets with world-class vocalists Dianne Reeves and Lizz Wright on “Make It Better” and “Keep Holding On” respectively, while noted jazz bassists Marcus Miller and Richard Bona lend their talents to “Mi Amigo Cubano” and “If You Want Me To,” and the acclaimed sibling duo of Daniel and David Bailen are featured on the catchy “All You Need.”

Another noteworthy contributor to the album is R&B legend Bill Withers, who has largely withdrawn from the spotlight in recent years, but whose longstanding admiration for Midón was enough for the veteran icon to suggest that they try writing together. The result is the lilting, tropical-flavored “Mi Amigo Cubano,” whose Spanish lyrics mark it as a departure for both artists. Midón and Withers can be seen working on the song in the 2009 Withers documentary Still Bill.

The openhearted sense of adventure that propels Don’t Hesitate has been a constant in Raul Midón’s life. Born in rural Embudo, New Mexico to an African-American mother and an Argentinean father, he grew up surrounded by music, thanks in part to his father’s diverse record collection, which ranged from classical to bebop to modern avant-garde composers. After taking an early interest in drumming, Raul gravitated towards guitar during early childhood. After attending the University of Miami, where he participated in that school’s prestigious jazz curriculum, he became a part of that city’s music scene, gaining attention for his own live gigs while becoming an in-demand backup singer for such Latin-pop artists as Julio and Enrique Iglesias, Shakira and Alejandro Sanz. In total, he recorded background vocals on more than 60 albums.

Although he was making a good living singing backup in Miami, Midón felt the need to pursue his own music. Thus in May 2002, he walked away from his lucrative life as a sideman and moved to New York City in order to focus on his solo career. There he met and began writing and recording with renowned DJ Little Louie Vega, with whom he toured Europe, Japan and Australia. Meanwhile, he played whatever solo gigs he could, developing the forceful, show-stopping performance approach for which he’s now known. Although that style is now his trademark, it was initially borne of his efforts to grab the attention of distracted barroom crowds.

“My first regular gig when I moved to New York,” Midón recalls, “was playing in this bar on the West Side, between sets by a Top 40 band, surrounded by a lot of drunk people. And here I come with just an acoustic guitar, so you’ve got to find a way to get them to pay attention. So I took a warrior approach.

It was, ‘OK, I’m not just another singer-songwriter singing about sensitive things. I’m gonna show you something that you’ve never seen before.’ That was a great education, and I still approach it that way.

“Every time I do a performance,” he says, “I’m working on something, whether it’s diction or pitch or a certain guitar technique. When I’m up on stage, I clear my mind of everything else, and I give people the best of what I’ve got at that moment. Some nights I’ve got more than other nights, but I never phone it in, and I never treat a gig like it’s less important than any other gig. And I’d like to believe that people can feel that. They’re seeing me as pure and truthful as I can be.”

Midón’s growing reputation as a live performer helped him to win the attention of legendary producer Arif Mardin, who signed him to his first major-label deal. Midón’s 2005 album State of Mind was greeted warmly by fans and critics alike, as were 2007’s A World Within A World, 2009’s Synthesis, and 2012’s self-released live CD/DVD Invisible Chains: Live from NYC, which solidified the devotion of a fervent fan base that spans the globe.

The vibrant creative spirit that animated those albums reaches a new level of inspiration on 

Don’t Hesitate, underlining Raul Midón’s stature as a one-of-a-kind artist whose lifelong pursuit of musical transcendence is an ongoing quest.

“I think that what people respond to with me is that there’s no trickery about what I’m doing,” Midón concludes. “I’m just singing and playing and trying to be as honest as I can be. For me, the best recordings capture moments of real life, and that’s what I’m trying to do.”

~ Mack Avenue

NEW RELEASES: LEON SPENCER - LOUISIANA SLIM; SADAO WATANABE - PASTORAL; LOUIS MOHOLO-MOHOLO QUARTET - 4 BLOKES

LEON SPENCER – LOUISIANA SLIM

Sublime Hammond from the amazing Leon Spencer – heard here at the height of his younger years, when he was cooking up as much magic in the studio as Johnny Hammond or Charles Earland – and really stretching things out, in ways that take the jazz organ format much farther than the giants of a decade before! The date's an all-out great one in the Prestige funky jazz mode – with Spencer on organ, Melvin Sparks on guitar, Grover Washington Jr on tenor, and Idris Muhammad on drums – a bit more subtle than before, but still plenty darn funky! Tracks are nice and long – and the record includes the originals "Louisiana Slim", "Our Love Will Never Die", "The Trouble With Love", and a cover of "Mercy Mercy Me".  ~ Dusty Groove

SADAO WATANABE - PASTORAL

A record as evocative as its title – part of a great flowering of talent from Japanese reedman Sadao Watanabe at the end of the 60s! Sadao started his career out as a hell of a bopper, then moved into some sweet Brazilian modes in the 60s – but by the time of this record, he was really emerging with a great vision of his own – a way of opening up in these longer, more lyrical ways on alto, soprano sax, and flute – with styles that were very different than any American or European players of the time! There's less of the echoes of the Japanese folk roots that Watanabe tried out a few years before – as his tone and timing is much more sophisticated, with a really tremendous sense of melody – and a way of bringing in rich feelings without ever getting too sentimental – almost at the best sort of soundtrack scoring level. All of the players here are equally sensitive to his needs – and include Hiroshi Matsumoto on vibes, Yoshiaki Masuo on guitar, and Kazuo Yashiro on Fender Rhodes – on titles that include "Gary Outro Samba", "Tokyo Suite", "Bridge", "Fandango", and "Ritmo Sabroso".  ~ Dusty Groove

LOUIS MOHOLO-MOHOLO QUARTET - 4 BLOKES

Not just four blokes, but a killer quartet led by legendary drummer Louis Moholo – one that works at the same searing intensity as his Blue Notes group in the 70s! The combo is especially adept at quick-paced, fast-thinking creativity – and really leap forward with a great sense of cohesion on some of the album's most emotive tracks – but they also know how to balance things out with some more contemplative and soulful passages, too – showing the rich sensitivity to sound that Moholo has developed over the years. Louis plays only a drum kit – but with a depth of sound that makes you feel as if he's got other percussion instruments in the mix – and the group also features Jason Yarde on saxes, John Edwards on bass, and Alexander Hawkins – and titles include "For The Blue Notes", "Yes Baby No Baby", "Angel Nomali", "Tears For Steve Biko", and "Khwalo". ~ Dusty Groove

New York Chanteuse Melissa Stylianou - Backed by an All-Star Band - Sings Favorite Jazz Standards and More on the Stylish, Spontaneous No Regrets

The fifth album from singer Melissa Stylianou - No Regrets (to be released Oct. 28, 2014, Anzic Records) - is all about the joy of spontaneity and making the most of the moment. The Canadian-born, New York-based vocalist recorded a set of jazz standards and other favorites in a live-to-two-track, noon-to-night studio session - old-school - backed by an ultra-simpatico trio of New York all-stars: pianist Bruce Barth, double-bassist Linda Oh and drummer Matt Wilson, with stylish guest spots by clarinetist Anat Cohen and alto saxophonist Billy Drewes. The New Yorker has described Stylianou as "an unmannered and affecting jazz singer with a taste for choice material," and past albums have seen her put a personal spin on songs from Björk and Joanna Newsom to Johnny Cash to Tom Waits, not to mention her own lovely original compositions. Jazz standards have been a part of the mix, too, but No Regrets - intimately produced by Oded Lev-Ari - sees Stylianou delve into vintage material like never before. She sings songs by likes of the Gershwins, Jerome Kern and Duke Ellington, along with a Billie Holiday tune, a vocal twist on Thelonious Monk, the indigo-hued chestnut "A Nightingale Can Sing the Blues" and, as a left-field inclusion, a folk setting of Yeats, "Down by the Salley Gardens." This beautiful album once again underscores why DownBeat Magazine has called her a "sophisticated storyteller" and an "original." 

Stylianou - a 38-year-old Brooklyn resident initially schooled in acting - has been turning heads since the turn-of-the-century, her skills as a performer honed over a five-year Friday-night residency at the Rex Hotel jazz club in her native Toronto and, more recently, in an ongoing multi-year run at the 55 Bar in New York's West Village. Reviewing Stylianou's Silent Movie, her previous Anzic album, JazzTimes declared that she had advanced to "the forefront of contemporary vocalists, rivaling the storytelling élan of Joni Mitchell and Carly Simon." With No Regrets, Stylianou builds on her varied New York experiences while revisiting the repertoire she learned and loved in her early Canadian club days. 

"This album, both the material and the way we recorded it, are very different from my previous four - it's like coming full circle for me," Stylianou explains. "Singing jazz standards in clubs was how I really learned to be a singer, since I studied acting instead of going to music school. Spontaneity and a sense of play were the rule in that environment, and I absorbed the style naturally. 'Remind Me,' 'I'll Never Be the Same Again,' 'Polka Dots and Moonbeams' and 'Humming to Myself' are songs I've been in love with ever since those days - they're inside my voice, inside me. Even 'Down by the Salley Gardens' comes from my days in Canada. We're lovers of Irish culture up there, and I learned the tune during tipsy singalongs on St. Patrick's Day. I did it on this album as just a duo with Matt Wilson on drums. It's very elemental, highlighting its merits as a lovely story in song." 

No Regrets is the sound of Stylianou letting go and "having the most fun I've ever had in a recording studio," she says. "I tend to be an over-thinker in my personal life, but I'm drawn to living in the moment when it comes to music. The title No Regrets refers to that sense of leaping in, being fully yourself and taking risks without second-guessing. Oded Lev-Ari, who also produced Silent Movie, is so good at fostering a sense of spontaneity and ease in the studio, even when you're recording live with no overdubs and doing the whole album in a day. He manages to be both hands-on and hands-off. The session felt so free, with everyone giving so generously of themselves to the songs and to the moment. Everybody approached the music seriously - but without taking ourselves too seriously. There was a blend of humor and urgency, as if we were playing a really great gig in the studio."

The virtuoso rhythm section supporting Stylianou throughout No Regrets - pianist Bruce Barth, bassist Linda Oh and drummer Matt Wilson - had never played together as a trio before, coming together specifically for the singer. Characteristically, Wilson's participation helped set the high-spirited tone. "Matt's good vibes are famous - he approaches music with a sense of play, as something fun," Stylianou says. "More than that, he listens so hard that he inspires everyone else to do the same. Working with Matt is like working with a magician - he makes incredible things happen that you'd never expect."

Regarding Bruce Barth, Stylianou enthuses: "I've had a musical crush on Bruce for a long time. The man swings so hard, and he's great with on-the-spot arrangements, like for 'Remind Me.' Plus, playing with him is so easy and joyful because he's an incredible accompanist who genuinely loves singers and songs." New to Stylianou, bassist Linda Oh was Lev-Ari's suggestion for the session - a happy introduction. "I was so impressed with Linda's musicality and her beautiful sound, as well as how much she put into the music," the singer says. "Her long solo intro for 'I Wish I Knew' is wonderfully personal." 

The guest horn players brought further personalized virtuosity to several tracks, with clarinetist Anat Cohen soloing on "Somebody's on My Mind" and "I'll Never Be the Same" and saxophonist Billy Drewes on "I Got It Bad (and That Ain't Good)" and "A Nightingale Sings the Blues." Stylianou says: "Anat was a key part of the sound of Silent Movie and to have her back was a treat. She's a kindred spirit with Matt - this seriously playful, or playfully serious, musician. Her sheer pleasure in making music spurs everyone around her to go for it. On the spur of the moment, Oded suggested having 'Somebody's on My Mind' be just clarinet, bass and voice - and I think it turned out special that way." As for Drewes, the singer says: "Billy brings a distinctive edge on alto, contributing so much soul and feeling." 

Stylianou will present No Regrets on December 2 at an album-release show at New York City's Jazz Standard, with Bruce Barth, Linda Oh and Matt Wilson reprising their roles from the recording - as will Billy Drewes. Stylianou's fellow singers in the vocal group Duchess - Amy Cervini and Hilary Gardner (with whom she has a new album in the can) - will add more color. Prior to the Manhattan show, Stylianou will celebrate the release of No Regrets in Canada with three nights at Toronto's Jazz Bistro, Nov. 20-22. The band for the Canadian shows will be pianist Jamie Reynolds, bassist Andrew Downing and Matt Wilson on drums. 

"I'm so looking forward to performing the songs of No Regrets live with these musicians," Stylianou says. "I gave myself permission to let go while making this album - because I've found that the emotions of the songs come through best that way. I hope listeners feel something of the freedom and fun that we experienced making it."  

Melissa Stylianou: No Regrets

1. "Nice Work If You Can Get It" (George & Ira Gershwin)

2. "Remind Me" (Jerome Kern, Dorothy Fields, arr. Bruce Barth)

3. "I Got It Bad (and That Ain't Good)" (Duke Ellington, Paul Francis Webster)

4. "Humming to Myself" (Sammy Fain, Herb Magidson, Monty Siegel)

5. "I Wish I Knew" (Mack Gordon, Harry Warren)

6. "Somebody's on My Mind" (Arthur Herzog Jr., Billie Holiday)

7. "Down by the Salley Gardens" (William Butler Yeats, traditional)

8. "A Nightingale Can Sing the Blues" (Dick Charles, Larry Marks)

9. "I'll Never Be the Same" (Matt Malneck, Gus Kahn, Frank Signorelli)

10. "Polka Dots and Moonbeams" (Jimmy Van Heusen, Johnny Burke)

11. "I Mean You" (Thelonious Monk, Jon Hendricks)

Melissa Stylianou, voice

Bruce Barth, piano

Linda Oh, double-bass 

Matt Wilson, drums

Anat Cohen, clarinet (6, 9)

Billy Drewes, alto saxophone (3, 8)

Produced by Oded Lev-Ari

Recorded by James Farber at Sear Sound, NYC

Mastered by Mark Wilder at Battery Studios, NYC

www.melissastylianou.com

www.AnzicRecords.com

      

DRUMMER BEN BAILEY RELEASES DEBUT ALBUM "A BIRD IN THE HAND"

Atlanta-based jazz drummer Ben Bailey is releasing his debut album, A Bird in the Hand, on October 21. Produced by jazz legend Duffy Jackson, A Bird in the Hand features both hidden big band treasures and classics performed with a new twist. The Nashville Big Band, a group of all-star studio musicians based in Nashville, join Ben for the eight song collection. The album is a long time coming for Bailey, who has been an avid jazz artist and performer for 31 years.

"As a drummer, I've been a fan of Duffy since I saw a concert of his as a kid," says Ben. "We became friends a few years ago and when he invited me to come to Nashville and record an album, it was an opportunity of a lifetime for me."

Not only did Duffy extend the invitation, he rolled up his sleeves to produce the record. Prior to the recording sessions, Duffy and Ben selected rare songs as well as classics that could be presented with new tempos and grooves to illustrate Ben’s musicianship. For track and album highlights, please click here.

CJ Boggs, live sound engineer for Taylor Swift, engineered the sessions which were held at the Nashville Musicians Association Union. Unlike many of today’s isolated instrument recordings, all of the musicians on Bird in the Hand were in one large room and each song was recorded in one or two takes.

The album will be released worldwide on Ben's website (www.benbaileymusic.com), CD Baby and iTunes on October 21. The CD release event will be held in Atlanta at Cafe 290 on October 20.

Jazz drummer Ben Bailey has performed and recorded with such artists as Houston Person, Rodney Jones, Freddie Hubbard, Dave Hungate, The Four Freshmen and Big Mike Geier.

Ben has toured globally in Europe and Asia. In addition, he has been featured in some of the top jazz clubs in New York and Atlanta, maintaining an active schedule of live performances, studio sessions and appearances on TV and radio stations.

Ben graduated from Berklee College of Music and currently resides in Atlanta.

www.benbaileymusic.com.

 

PIANIST PETER ZAK TO RELEASE "THE DISCIPLE" FEATURING BASSIST PETER WASHINGTON & DRUMMER WILLIE JONES III

For his tenth CD in as many years, all for the Danish SteepleChase label, pianist Peter Zak continues his brilliant series of jazz trio explorations, this time in the company of bassist Peter Washington and drummer Willie Jones III. The new disc, The Disciple, will be released October 21. 

"The fact that the piano is the lead instrument in terms of playing the melody appeals to me," Zak says of the trio format. "There's that, and the hookup between the ride cymbal and the bass doesn't get any better than that. The reason I play jazz is basically for that feel."

  

Washington, who's on board for his fourth consecutive Zak session, "is one of the best musicians I've ever played with," says the pianist. "He really knows how to break up the time and to really find the groove when it needs to be found. He hears everything that's happening immediately."

  

Zak's association with Jones dates to 1998 when both were sidemen on trumpeter Ryan Kisor's The Usual Suspects CD. "He's got a lot of energy but he's not bombastic," Zak says of the much-in-demand drummer. "I just like his sensibility about swinging."

Zak is a stylistic disciple of some of the greatest jazz pianists of the bop and post-bop eras. He salutes six of them on The Disciple with personalized interpretations of compositions by Chick Corea ("The Loop"), Elmo Hope ("Barfly"), Horace Silver ("Nutville"), Herbie Hancock ("Requiem"), Hampton Hawes ("Jackie"), and Thelonious Monk ("Criss Cross"), along with three originals and one by the Russian classical composer and pianist Alexander Scriabin.

He hadn't initially planned a CD of tunes made up entirely of tunes by piano players. It just turned out that way, as did the fact the set opens and closes with waltzes: Corea's "The Loop" and his own "The Disciple." His decisions must have been subconscious, as he has long shown himself to be master of programming music who often selects great yet little-known songs for his recordings and live performances. "I want to do things that are off the beaten track, something that hasn't been done a lot," he explains.

Peter ZakPeter Zak, 49, was born in Los Angeles and grew up in Columbus and Kent, Ohio, then moved with his family at age 16 to Oakland. At the University of California, Berkeley, where he majored in history, he studied with Susan Muscarella (founder/director of Berkeley's Jazzschool, now the California Jazz Conservatory).

Zak played on an extracurricular basis in combo and big band settings, with the UC Jazz Ensembles. He also freelanced in bands with noted bassist Herbie Lewis, who had recorded with one of Zak's major influences, McCoy Tyner, as well as Jackie McLean and local hero Bobby Hutcherson. Following his graduation from UC Berkeley, Zak played clubs, concerts, and festivals with such notables as saxophonists Frank Morgan and John Handy.

Since moving to New York in 1989, Zak has enjoyed ongoing recording and performing associations with saxophonists Walt Weiskopf, Jim Snidero, and Stephen Riley; trumpeter Ryan Kisor; and guitarist Tom Guarna. Zak has accompanied such name artists as George Coleman, Billy Hart, Jon Hendricks, Etta Jones, Jimmy Cobb, Scott Hamilton, and Junior Cook. He's been on the faculty in the Jazz and Contemporary Music College of the New School since 1995 and currently teaches an ensemble class there.

Zak has recorded steadily as a leader since making his debut, in 2005, with The Peter Zak Trio, a trio date with Paul Gill and Al Foster. That same year, he was the recipient of a $10,000 commission from the Doris Duke Foundation to compose and perform a new work for his trio. 

In his notes to The Disciple, Zak describes the composition process as something "by turns challenging, intriguing, frustrating, and finally rewarding" and discusses the value of standard jazz repertoire "as springboards to improvisation and collective interaction. . . . You still need that foundational element that's built on a basis of collective knowledge among the performers, and oftentimes the audience. Only then do we stand a chance for that deep groove, and for imagination to truly take flight." 

Peter Zak and his trio (Paul Gill, bass, and Joe Farnsworth, drums) plus guest soloist Peter Bernstein will be performing a CD release show for The Disciple at Smoke, 2751 Broadway, New York City, on Wednesday 10/22. Sets are at 7:00, 9:00, and 10:30 pm.

peterzakmusic.com

Earth, Wind & Fire Celebrate the Season with Holiday, their First-Ever Holiday Album

Legacy Recordings has announced the release of Holiday, the first-ever holiday album from the legendary Earth, Wind & Fire on Tuesday, October 21. Holiday is a spirited celebration of the holiday season, bringing together brand new recordings of  seasonal standards ("Winter Wonderland," "The Little Drummer Boy," "Sleigh Ride," "Jingle Bell Rock"), beloved carols ("Joy to the World," "Oh Come All Ye Faithful," "What Child Is This?," "Away in a Manger," "The First Noel"), a traditional Japanese winter song ("Snow"), a modern day Christmas song ("Every Day Is Like Christmas") and future Earth, Wind & Fire classics: "Happy Seasons" (inspired by "Happy Feelin'), and "December" (inspired by "September") featuring original vocals from Maurice White.

Lead vocalist and Earth, Wind & Fire co-founder Philip Bailey says, "This album is the band's first and only holiday music project. We are very proud to offer it as a labor of love to all of our fans and soon to be. Enjoy and happy holidays from our families to all of yours."

"The Holiday album was a joy to record, it is a celebration of tradition, love and spirituality, some of the elements of Earth, Wind & Fire. From our families to yours, we wish you a happy holiday," said EWF's co-founder Verdine White.

Produced by Philip Bailey and Myron McKinley (the band's Musical Director), Holiday is Earth, Wind & Fire's 21st studio album and second for Legacy Recordings.  Now, Then & Forever, the group's first new album for the label and first new studio material since 2005, debuted at #11 on the Billboard 200 upon its release in September 2013, marking the band's highest-charting album since Raise! hit #5 in 1981.

Earth, Wind & Fire - Holiday

1. Joy to the World

2. Happy Seasons

3. Oh Come All Ye Faithful

4. Winter Wonderland

5. What Child Is This?

6. Away In a Manger

7. The Little Drummer Boy

8. Every Day Is Like Christmas

9. The First Noel

10. Sleigh Ride

11. Snow

12. Jingle Bell Rock

13. December

www.earthwindandfire.com

www.facebook.com/earthwindandfire

www.legacyrecordings.com

Tony Bennett And Lady Gaga's Cheek To Cheek At No. 1 On The Billboard 200, Jazz Album And Traditional Jazz Album Charts

Tony Bennett and Lady Gaga's widely acclaimed jazz album, Cheek To Cheek, debuted at no. 1 this week on the Billboard 200 Album and hits #1 on the Jazz Album and Traditional Jazz Album Charts. Released September 23rd on Streamline, Columbia, and Interscope Records, Cheek To Cheek has received extensive widespread critical praise around the world, including such leading publications as USA TODAY ("an epic musical mashup"), ROLLING STONE ("Gaga has real chemistry with Bennett"), PEOPLE ("An unlikely pairing results in beautiful music on this album of jazz standards. [Gaga] is a revelation."), THE TIMES OF LONDON ("crooning nirvana") and the CHICAGO SUN-TIMES ("A musical match made in jazz/standards heaven.")

With the release of Cheek to Cheek, Bennett breaks his own record, set in 2011 when DUETS II debuted at #1 at the age of 85.  Now at 88, Bennett remains the oldest artist in music industry history to have an album on the #1 spot on the Billboard charts. Cheek To Cheek marks Lady Gaga's third consecutive #1 album release in just over three years; this is the second time in Bennett's career that he has had an album debut at #1 in both Billboard's Pop and Jazz Album charts.  Two tracks released prior to the album, the Cole Porter classic "Anything Goes", and the Jimmy McHugh and Dorothy Fields standard "I Can't Give You Anything But Love", both debuted at  #1 on Billboard's Digital Jazz charts. 

Cheek To Cheek features classic jazz standards sung by Lady Gaga and Tony Bennett in a combination of vocal duets and solo performances.  Each song was handpicked by the artists, and the album features classic selections from the Great American Songbook including "Anything Goes," "It Don't Mean A Thing (If It Ain't Got That Swing)," "Sophisticated Lady,"  "Lush Life," and the record's title track, "Cheek To Cheek." Recorded in New York City, the record took over a year to complete and features jazz musicians associated with both artists including members of Bennett's quartet, Mike Renzi, Gray Sargent, Harold Jones and Marshall Wood as well pianist Tom Lanier.  Jazz trumpeter Brian Newman, a long-time friend and colleague of Lady Gaga appears on the album as well with his NYC based jazz quintet. Jazz soloists on selected tracks include tenor saxophonist Joe Lovano, trumpeter George Rabbai and flutist Paul Horn, who passed away in July.

 

NEW RELEASES: DEODATO – O SOM DOS CATEDRATICOS; SLY'S STONE FLOWER 1969-70 - I'M JUST LIKE YOU; MARK DE CLIVE-LOWE - CHURCH

DEODATO – O SOM DOS CATEDRATICOS

Killer early work from Eumir Deodato – all done in an organ-heavy groove that's quite similar to Walter Wanderley's best from the time! Deodato handled all the arrangements, and although his organ and piano are at the front of the mix, the group's nicely large too – with additional instrumentation that includes trombone from Raul De Souza, guitar from Neco and Geraldo Vespar, drums from Dom Um Romao, percussion from Rubens Bassini, and some additional sax and trumpet as well. The sound is clean and lean – and most rhythms are in a jazz samba or bossa mode, with a keen focus on Deodato's great keyboard lines. Titles include "Os Grilos", "Muito A Vontade", "Imenso Amor", "Gente (Chup, Chup, I Got Away)", "Tempinho Bom", and "Ainda Mais Lindo". Very cool, with a groovy bossa sound all the way through! Includes one bonus track – a mono version of "Os Grilos".  ~, Dusty Groove

SLY'S STONE FLOWER 1969-70 - I'M JUST LIKE YOU

An incredible snapshot of the funky soul genius of Sly Stone in an early transitional period – featuring all the known recordings of his short-lived Stone Flower label and production house from 1969-1970! Sly was a rising star at this point, and while the Stone Flower Productions name had been established already for Sly & The Family Stone's work-to-date, there was a brief period when he and manager David Kapralik set out make Stone Flower an official management and production house – and recorded some great tunes with female vocal trio Little Sister, funky soul singer and harmonica player Joe Hicks and funk rock sexet 6ix – as well as some gems sung by Sly himself. Sly & The Family Stone were soon to take off in a really huge way, his business relationship with Kapalik was becoming strained, and other factors behind-the-scenes made it impossible for Stone Flower Productions to really take root, but this brief period is fantastic. We're so glad it's been dug up and collected here! The cuts are primarily written and produced by Sly Stone – with Sly out front on "Just Like A Baby", "Africa", "Spirit" and "Scared" – and other great tracks include "You're The One" and "Somebody's Watching You" by Little Sister, "Home Sweet Home (Part 2)" and "I'm Going Home (Part 1)" by Joe Hicks, "Trying To Make You Feel Good", "You Can, We Can" by 6ix and more. 18 tracks in all – with a nice booklet of notes by Alec Palao, and an interview with the elusive Sly Stone himself!  ~ Dusty Groove

Mark De Clive-Lowe takes us to church – with a set that's easily his most soulful, spiritual record ever! The album's got a lot more acoustic elements than usual – plenty of jazz elements on tenor, flute, trumpet, and percussion – mixed with Mark's own great Fender Rhodes and other keyboards – some of which shift the sound of the acoustic instruments in the process! The shift is a bit like that taken by Jimi Tenor with his own music in recent years, but the overall sound is still very much in the soaring, cosmic territory we've always loved from Mark – but there's also a much deeper connection to the planet as well. Wonderful throughout – a great step forward for an artist we already love so much – and titles include "Sketch For Miguel", "Now Or Never", "Nova Roda", "The Mission", "Distractions", "Mason's Galaxy", "Imam", and "Sun Up Sun Down".  ~ Dusty Groove