DAVID BUCKINGHAM RELEASES DEBUT ALBUM - THE VIEW

The View was the name of an estate in the heart of the English countryside that David used to work at when he was a student to fund his way through college. The photo on the album cover is of the Andalusian skyline. These two "views" reflect the crossover of influences and inspiration in David's compositions. Or as Gordon Giltrap put it: "It's good to hear so much Englishness coming through those Spanish influenced pieces".

Views aren't the only form of inspiration that seems to run as a theme throughout these compositions; water also seems to play a big part in inspiring, from Waterscape, a composition for Spanish guitar re-tuned to DADGAD, an Irish tuning; to the composition entitled Chiemsee, inspired by a lake in Southern Germany of the same name; to Agua Clara (Clear Water).

Taking a view across the diverse styles that flavout this album one can hear flamenco, classical, subtle hints of jazz and latin harmonies (particularly in Brisa Flamenca) and minimalism (in the beautiful and reflectional Agua Clara).

Whilst Gordon Giltrap also said of the album "I defy anyone to better the virtuosity displayed in these pieces" Martin Taylor also noted David's sensitivity and said "what I love about David's compositions and arrangements is that he puts the music first". Possessing an impressive technique can sometimes lead to unnecessary embellishments but David knows exactly when to let the music breath and when to inject that special something.

The album opens with Waterscape, David's composition for Spanish guitar tuned to DADGAD. The middle section for this piece is haunting and reflective and the flamenco five-note tremolo is used to wonderful effect. 

After gently bringing us into his musical world with Waterscape David ups the ante and invites a few musician friend to join us in the form of Manuel Berraquero (flamenco guitar), Claire Furley (vocals) and Marco Vargas (taconeo - flamenco footwork). The piece is call Brisa Flamenca which means flamenco breeze in Spanish and, true to word, it washes over you like a welcome Mediterranean breeze on a balmy evening.

  

David's ability to arrange well-known pieces and present a fresh take on them is shown in his re-workings of You Are The Sunshine Of My Life by Stevie Wonder, Wonderful Tonight by Eric Clapton and Street Life by The Crusaders. 

Nic France, percussionist for Pink Floyd's David Gilmore can be heard on three tracks: You Are The Sunshine Of My Life, The View and Street Life. Nic's ability to lock in with David and catch each and every one of David's subtle expressions makes him the perfect addition to these tracks. 

Chiemsee is perhaps the most classical composition on the album, inspired by the great Bavarian lake in Germany. San Vicente too is classical in style but David sneakily leads us into a jazzy groove before sauntering back to the second section of the song.

  

The View takes us back to David's flamenco roots and has a really energetic feel with Nic helping to drive the  groove forward from beginning to end. Argentine singer Guillermo Rozenthuler also joins in the fun, adding some smooth floating melodies that play perfect compliment to the grittier underlying textures laid down by David and Nic. 

After taking us on a musically eclectic journey many faceted flamenco moods David ties things up with a very reflective, thought provoking composition entitled Agua Clara. This is the perfect end to musically and creatively rich debut album and leaves the listener intrigued as to which direction David will go in next. One feels that the waters that so inspire him could flow in any direction but that they will flow in a beautiful and eclectic manner with ripples of flamenco, classical, jazz and romance.

JASON YEAGER TRIO RELEASES "AFFIRMATION"

The CD features Yeager's longstanding trio with bassist Danny Weller and drummer Matt Rousseau, as well as special guests saxophonist Noah Preminger, vocalist Aubrey Johnson, and trumpeter Jean Caze in ten original compositions, as well as The Beatles' "Julia" and an adaptation of excerpts from a movement of the Quartet For The End Of Time by the 20th century classical master, Olivier Messiaen. 

An acclaimed artist's second recording as a leader shivers with expectation. Was all the promise heard so clearly on the debut album illusory, or is this nascent performer the real deal? Jason Yeager can rest easy. His sophomore recording, Affirmation (to be released October 21 on Greg Osby's Inner Circle Music label), indeed affirms that the young New York-based pianist, composer and bandleader is expanding his individual voice as an artist while further developing the gifts first revealed on his 2011 album, Ruminations. At the helm of a longstanding trio featuring the bassist Danny Weller and the drummer Matt Rousseau, Yeager explores the supple contours of ten original compositions, as well as The Beatles' "Julia" and an adaptation of excerpts from a movement of the "Quartet For The End Of Time" by the 20th century classical master, Olivier Messiaen. To enrich the sonic palette of the ensemble, Yeager carefully incorporates the talents of much-praised saxophonist Noah Preminger, vocalist Aubrey Johnson, and trumpeter Jean Caze. Affirmation boldly and persuasively displays Yeager's interest in blending his various jazz, classical, blues, pop and world music inspirations; the results speak of a deepening artistic vision that demands attention.

If the performances captured on Affirmation resonate with assurance, this quality may lie in the gestation period that preceded the recording. Tunes were polished in rehearsals and on the bandstand long before the trio ever saw the inside of a studio. In fact, during much of that time, Yeager, Weller, and Rousseau all lived and rehearsed in the same Brooklyn apartment building. The comfort that exudes from the album is also testament to the power of longtime friendships: Yeager met four of the supporting players as a student at New England Conservatory; he met Caze at Smalls, the New York nightclub that acts as an incubator for burgeoning jazz players, soon after he (Yeager) moved to New York City.

"For me, the album's title reflects an affirmation of the important choices I've made over the past four years," Yeager says. "My increasing passion for music, the friendships I've made, the support that I've received, and the amazing performances that have taken place in the past few years have all convinced me that I am on the right track. In a sense, Affirmation charts my transition from being a young adult to becoming a full-fledged adult. The album is true to who I am, and how the trio has evolved. I want the music to connect with listeners, to make them feel something, to be both accessible and challenging. As Danilo Perez stressed to me, music is about community and connecting with people. I want the music to be heard and to mean something to others. As for the trio, experience has allowed us to become more fearless. We are taking more chances because we feel comfortable with and supportive of each other. Both as friends and as musicians I feel that we have each other's back."

Yeager's piano style embraces the past and present, with traces of such heroes as Bud Powell, Bill Evans, and Thelonious Monk mingling with a unique and contemporary approach to melody, harmony, rhythm and form. Featuring plenty of improvisation, his original tunes are indeed compelling compositions, pieces intended to impact listeners with their distinct melodies and aural appeal, rather than serve merely as springboards for the leader's pianistic wares, impressive as they may be. While Yeager's command and invention are heard throughout, each performance also demonstrates the integral nature of the supporting players: "Achi" and "Blues For Billy P" offer convincing displays of the awesome talents of bassist Weller, while "Stumblebop" and "Twelve Etude" give the impressive Rousseau a chance to shine. "Smiled First" makes exceptional use of Preminger's lyrical qualities; "Julia" takes on newly expressive contours through Johnson's vocalizing; and "Keep the Fire" captures fierce statements by Caze and Preminger. The extraordinarily sensitive interplay heard on excerpts from Messiaen's "Dance of Fury, For the Seven Trumpets" is yet more proof that a major, far-thinking piano trio is among us.  

Now a New York resident, the 27-year-old Yeager has considerable personal and professional ties to the New England area where he was born and raised. Currently teaching at Boston's Berklee College of Music, where he is one of the college's youngest faculty members, Yeager graduated with honors from a double degree program at Tufts University and New England Conservatory (NEC), where he studied International Relations and Jazz Performance. At NEC, he was mentored by such prominent pianists as Danilo Perez, Fred Hersch, Ran Blake and Frank Carlberg, as well as such significant instrumentalists as Jerry Bergonzi and John McNeil.

Yeager has performed with several noteworthy artists, including Greg Osby, Linda Oh, Sara Serpa and Mark Walker. He can also be heard on the album Tipping Point by violinist Jason Anick, among other recordings.

www.jasonyeager.com

www.innercirclemusic.com

THE COMPLETE DIAL MODERN JAZZ SESSIONS

There are a number of reasons why Mosaic Records is one of the most revered labels in the history of jazz. First and foremost, they present rich slices of the glorious history of jazz through its most significant manifestation: the music itself. Presented in vividly captured audio perfection, Mosaic offers profoundly important music that has been either unavailable for decades or almost impossible to gather by even the most dedicated fan. Mosaic sets present the artistry of the music's greatest masters, equally focused upon the recognized immortals alongside those who never enjoyed the popularity they deserved, always delving into every recess of their unbridled creative output. Lastly, they do it all with stunningly dignified packaging and explanatory materials that make the listener feel that they are right in the midst of the moment of the music's creative inception.

With the newly released 9-disc set, The Complete Dial Modern Jazz Sessions, every one of these qualities is hit square in the center of the bullseye. Overwhelmingly crucial historical significance to one of the most important transformative periods in jazz history; performances by artists ranging from the uppermost reaches of the jazz pantheon to under-recorded giants; a vast amount of material - 185 tracks - that would be virtually impossible to collect. Most importantly, all of the music was created with the transcendence of supreme artistry in central focus, with no concerns about commercial compromise for a wider audience.

Of course, the crown jewels of the collection are the immortal Charlie Parker sessions, long esteemed as standing alongside Louis Armstrong's Hot Fives and Sevens in the profound influence upon the development of jazz expression. Signing exclusively with Dial under the promise of total artistic control of his recordings, Bird's 1946-47 sessions are here with every note intact and in the company of a who's who of the bop evangelists - Dizzy Gillespie, Miles Davis, Howard McGee, Wardell Gray, J. J. Johnson, Duke Jordan, Teddy Edwards, Erroll Garner, Tommy Potter, Max Roach and other fine purveyors of the form. In addition, Parker and Dizzy (along with Flip Phillips and Teddy Wilson) are also heard on the extremely rare 1945 Red Norvo sessions, recorded for Comet Records a year before Dial came into being (and purchased some years later).

Another saxophone heavyweight, Dexter Gordon is featured on three sessions. Recorded during the time of his legendary all-night tenor battles on the L.A. scene, one session features his main sparring partner, Wardell Gray; another "battle" with Teddy Edwards; and the third features trombonist Melba Liston. Howard McGhee has two sessions, one of which features James Moody, Milt Jackson, Hank Jones and Ray Brown; the other co-led with pianist Dodo Marmarosa (who also has his own trio date included) and Edwards on tenor. The piano wizardry of Erroll Garner is represented by a brilliant solo date and a few tracks with his trio; and Dizzy also has his own sextet session featuring Lucky Thompson and Milt Jackson. The collection is rounded out with Fats Navarro and vocalist Earl Coleman, and a Sonny Berman Big 8/Ralph Burns Quintet date that includes Bill Harris, Flip Phillips and Serge Chaloff. Unequivocally, a treasure trove of remarkable music.

Dial Records, the brainchild of entrepreneur and jazz historian Ross Russell, was spawned from his Tempo Music Shop, a West Coast Mecca for jazz lovers. It was a masterpiece of timing, emerging shortly after the Musician's Union lifted its recording ban, during which Bird, Diz and the other visionaries of bebop were forging the new language outside of public view. With a post-war society aching for something new and uplifting, the new music hit like a tidal wave and Dial Records was riding its crest.

As the industry reeled with the new post-strike regulations, it was an ideal time for a smart business man to move forward, and for innovative musicians to join in. With no hindrances to their artistic freedom and the euphoric atmosphere of exploratory musicality and responsive audiences on hand, Dial Records made an enormous contribution to the jazz legacy during its short life between 1946 and 1948. And now Mosaic has recaptured that time in posterity for jazz aficionados throughout the world in its singularly spectacular manner with The Complete Dial Modern Jazz Sessions.

NEW RELEASES: GOLDEN DAWN ARKESTRA – GOLDEN DAWN ARKESTRA EP; THELONIOUS MONK – GENIUS OF MODERN MUSIC VOLUME ONE; HIROSHI FUKUMURA - LIVE FIRST FLIGHT

GOLDEN DAWN ARKESTRA – GOLDEN DAWN ARKESTRA EP

Wonderful work from this fuzzy, funky group – a project headed by Topaz McGarrigle, who released some great records as Topaz over the years – working here with the excellent Golden Dawn Arkestra! This set draws inspiration from fuzzy rock as well as funk – but there's also some unusual exotic elements at play, too – as befits the cover image – slight traces of cosmic energy that help keep things interesting – especially on the keyboards and acoustic percussion. Adrian Quesada, of Ocote Soul Sounds, Brownout and Brown Sabbath contributed a bit in the studio, and titles include "Selemat", "Saharan Knights", "Oasis", "Dimensions", and "Afropocalypse".  ~ Dusty Groove

THELONIOUS MONK – GENIUS OF MODERN MUSIC VOLUME ONE

A great collection of Thelonious Monk's 10" recordings for Blue Note – seminal not only for the label's commitment to a modernist bop ideal, but also for Monk's integration in the growing collection of top-level jazz players on the New York scene. The work's notable also for the fact that Monk's playing in group settings – not trio ones – and here, his early writing for and interplay with saxes and trumpet would certainly have a strong effect on the development of modern jazz in the 50s. Titles on this first volume include "Round Midnight", "In Walked Bud", "Thelonious", 

"Epistrophy", "Misterioso", "Well You Needn't", and "Off Minor". ~ Dusty Groove

HIROSHI FUKUMURA - LIVE FIRST FLIGHT

A great live date from one of our favorite trombonists of the 70s – a really unusual player who made some great personal strides on the instrument with records like these! The session's a live one, with a very open feel – long, flowing tracks that are similar to the sorts you'd hear from a Japanese piano trio of the time, but played with a stronger focus on Hirosi Fukumura's well-blown solos – often constructed more like trumpet lines, with a fantastically gritty, growling voice on the instrument – but one that has a lot of lyrical power too. The rest of the quartet features Hiroshi Tamura on piano, Tsutomu Okada on bass, and Shinji Mori on drums – and titles include "Nancy", "Mother Some Place", "Waltz For M", and "The Shadow Of Your Smile". (SHM-CD pressing! Part of the Deep Jazz Reality series.)  ~ Dusty Groove

NEW RELEASES: CHELSEA WILSON – I HOPE YOU’LL BE VERY HAPPY WITHOUT ME; JESSE JAMES – I LOST MY BABY ON FACEBOOK; BUGGE WESSELTOFT / HENRIK SCHWARZ / DAN BERGLUND - TRIALOGUE

CHELSEA WILSON – I HOPE YOU’LL BE VERY HAPPY WITHOUT ME

A smashing soul sensation from Australia – and a great debut from Chelsea Wilson, a singer who's a lot more than just another female vocalist with a deep funk combo! Instead, Wilson's got a proud, bold soul vision right from the start – a groove that starts with classic funk, but which also comes together with a more far-reaching approach too – that special kind of real soul starpower we first heard in the work of Amy Winehouse, but without any of the train wreck sort of vibe either – a quality that may well have Wilson breaking big on our shores in coming years. Yet even if she doesn't, this sweet debut is more than enough of a legacy – very well done throughout, with tracks that include "One Day At A Time", "Bitterness", "Closer", "Hit Em Like Ali", "Through With Lovin You", and "I Hope You'll Be Very Happy Without Me".  ~ Dusty Groove

JESSE JAMES – I LOST MY BABY ON FACEBOOK

The great Jesse James keeps on going – with a sound that's every bit as the old days, even though he's updated his lyrics to include the world of Facebook! James is part of a great deep soul underground – an artist who was a soul singer back in the 60s, but who's moved into more of a bluesy vibe over the decades – but in a style that still has plenty of southern soul in the mix, like some of the excellent 80s material on the Malaco label. The album's issued on the tiny Gunsmoke label, but has a great sound that rivals the bigger indies – as well as a hell of a lot of charm, as you might guess from the cover. Titles include "Can I Still Be Your Friend", "You're All In My Dreams", "Hate Will Destroy The World", "Why Do U Have 2 Lie", "It Doesn't Seem Like Xmas 2 Me", and "I Lost My Baby On Facebook". ~ Dusty Groove

BUGGE WESSELTOFT / HENRIK SCHWARZ / DAN BERGLUND - TRIALOGUE

Really spare, really beautiful sounds from the great Bugge Wesseltoft – working here on acoustic piano, alongside electronics from Henrik Schwarz and bass from Dan Berglund – a trio setting that's every bit as moody as Bugge's solo music on his own! The sound shapes are very murky at points, and more promintent at others – especially when Schwarz comes to the forefront – and the mix of analogue and electric keys almost takes us back to the best late 70s years of the German Sky Records scene – which might well make these guys a 21st Century equivalent of the Cluster team of Roedelius and Moebius! Yet the whole thing also has that wonderfully mature Wessletoft sense of a subtle melody – gentle sentiment that's never overdone, but which warms things up in surprising ways. Titles include "Take A Quick Break", "Valiant", "Headbanger Polka", "Movement Seventeen", and "This Is My Day".  ~ Dusty Groove

Blue Note Entertainment Group To Open SUBROSA New/Intimate Latin & World Music Venue in New York's Meatpacking District

Blue Note Entertainment Group (BNEG) will open Subrosa - a new Latin & World Music venue located in New York City's Meatpacking District - with an opening preview event on Wednesday, November 12, featuring performances by The Pedrito Martínez Group (shows at 7:00PM & 9:00PM). The venue's grand opening will follow in December.

Owned and operated by BNEG, Subrosa, Latin for "under the rose," is an intimate, eclectic listening room dedicated to showcasing music, art, and culture. The 120 capacity basement space located on 63 Gansevoort St. intends to present live music nightly (shows at 7:00PM & 9:00PM) and serve food. Additional confirmed artists include guitarist Juanito Pascual, Cuban vocalist Jose 'Pepito' Gomez and drummer Francisco Mela. Tickets for all currently announced shows are $20 and can be purchased at www.subrosanyc.com.

"We are opening Subrosa to provide a new creative hub for eclectic music, with an emphasis on Latin and World music disciplines," says Steven Bensusan, President of Blue Note Entertainment Group. "This space will ultimately serve as a destination for listeners to discover new globally-influenced music in an accessible setting."

After a nine-year monthly residency at New York's Guantanamera, The Pedrito Martínez Group will move its residency to Subrosa, with performances multiple nights each month. The daringly inventive Cuban percussionist Pedrito Martínez has become a ubiquitous presence on the New York scene. "I am honored to be part of the launch of Subrosa," says Martínez. "I am excited to be starting a residency with the Blue Note family, who are known for their passion and service to music." Following the soft launch on November 12, The Pedrito Martínez Group is scheduled to perform at Subrosa on the following dates: November 13, 19, 20; December 2, 16-17, 18, 23; January 12-14, 21-22, 29-30.

"Perdito has clearly become a staple on New York's Latin and creative music scenes," adds Bensusan. "We are absolutely thrilled to kick off our latest New York City venue with Pedrito's group and host his new residency."

In addition to Martínez, Subrosa has confirmed the following shows: Juanito Pascual New Flamenco Trio - November 14; "Direct from Cuba Presents: Jose 'Pepito' Gomez - Special Tribute to Buena Vista Social Club" - November 21, 27, 28 & December 11; and the Francisco Mela Son Quartet - December 12, 19 & 26. Additional headliners will be announced in the coming days.

Location, Tickets & Additional Information:

Subrosa

63 Gansevoort St.

New York, NY 10014

www.subrosanyc.com

212-997-4555

Shows at 7:00PM & 9:00PM

NEW RELEASES - BILLY TAYLOR TRIO - SLEEPING BEE; RODRIGO LIMA - SAGA; ANGLES 9 - INJURIES

BILLY TAYLOR TRIO – SLEEPING BEE

Great sounds from Billy Taylor – a player who was definitely big in the mainstream at the time of this late 60s date, but who really finds a way to return strongly to his roots! Taylor's playing here with that nicely punctuated style that made him one of the biggest groovers in the early 50s – and the group has this really great MPS/Saba sort of vibe – never too over the top, but always with an undercurrent of soul – as you might expect with rhythm work from Ben Tucker on bass and Grady Tate on drums! Taylor turns in a few lyrical moments, which are alternated with more left-hand swinging numbers – and titles include "La Petite Mambo", "Theodora", "Paraphrase", "Bye Y'All", and "Don't Go Down South". ~ Dusty Groove

RODRIGO LIMA - SAGA

A great debut from Rodrigo Lima – a double-length set that has the guitarist working in modes that range from Brazilian roots to samba jazz, with lots of stops in between! Lima plays acoustic throughout, and with a deftness that rivals some of his Brazilian predecessors – and that includes some of the best bossa and choro talents as well – and the range of settings in the album is varied, but extremely unified too – thanks to a coherent sense of production and presentation that really holds our interest throughout. Rodrigo invited a surprising range of legends to work with him on the album – including Hubert Laws on flute, Hugo Fattoroso on keyboards, Raul De Souza on trombone, Anat Cohen on tenor and clarinet, Mike Mainieri on vibes, and the great Hermeto Pascoal on piano – and songs range from shorter melodies to these lovely long introspections. Titles include "Porta Aflora", "Vida Nova", "Pilotos", "Opa", "Anima 2", "Cancao Praieira", "A Velha Sozinha", and "Nosso Borogodo Coio". ~ Dusty Groove

ANGLES 9 – INJURIES

Wonderful work from this Swedish collection – a group of players you might know from their excellent work on the Moserobie label, coming together here in one of their most ambitious projects ever! The lineup is relatively large, but the sound is nice and lean – as many musicians often work together in this rhythmic pulse that's quite strong – almost undercurrents of funk or 70s Afro modes, but with all the sharp edges you'd expect from soloists like Matthias Stahl on vibes, Johan Berthling on bass, Magnus Broo on trumpet, Mats Aleklint on trombone, Martin Kuchen on alto and tenor sax, and Goran Kajfes on cornet. Kuchen wrote all the tracks on the record, and produced the set too – so we'll assume he's the leader – and titles include "European Boogie", "Eti", "Ubabba", "Injuries", "Compartmentalization", and "In Our Midst". ~ Dusty Groove

JOHN RABBIT BUNDRICK / JOHNNY NASH / BOB MARLEY – VILL SA GARNA TRO (WANT SO MUCH TO BELIEVE) FILM SOUNDTRACK

Amazing sounds from a rare Swedish film – noteworthy not just for the end result, but for the lineup of people who were part of the process! The movie itself starred rising soul star Johnny Nash – in the lead in a tale about interracial romance – and although Johnny sings on the score, his style is also quite different than his own music of the time – as his voice is set to really cool, complicated backdrops from John "Rabbit" Bundrick – who was part of a floating scene that included Nash and Bob Marley, with a better-known later stop in London. The film and music came together out of an almost communal vibe – with Bundrick's music at the core, plus some lyrics from Nash, and instrumentation from a lineup that includes Bob Marley on guitar, alongside local talents Janne Schaffer and Bjorn Linder – plus percussion from the great Reebop Kwaku Bah, who'd worked with Can and Traffic – as well as lots of Fender Rhodes and organ from Bundrick. Some tunes have a loose, percussive feel – others are more song structured with a lot of guitar – and the whole package comes with a great set of notes to tell the tale of the music and the movie. Titles on this second volume include "Mine All Mine", "Fire Sequence", "Live In The Country (inst)", "Song In Ferry Boat Sequence", "Church Tune", "Love Scene", and "Harp II". ~ Dusty Groove

NEW RELEASES: CERRONE - ORIGINAL SOUNDTRACKS BRIGADE MONDAINE; THE BEST OF THE KONGAS; CERRONE REISSUES; DON RAY - GARDEN OF LOVE

CERRONE – ORIGINAL SOUNDTRACKS BRIGADE MONDAINE (VICE SQUAD / LA SECTE DE MARRAKECH / VADOU AUX CARAIBES 3CD/3LP SET)

A mighty great set – three rare soundtracks from dancefloor maestro Cerrone – none of which we ever see on vinyl here in the US! First up is Vice Squad (aka Brigade Mondaine) – a rare soundtrack from the mighty Cerrone – recorded right at the height of his electro disco fame, and with a very similar groove! The film was also titled Vice Squad in the US market – and the music here definitely echoes the sleaze of its subject matter – with loads of sweet clubby lines that are heavy in the keyboard styles you'll know from "Supernature" – but maybe even leaner and meaner here – with a stripped-down punch that makes for plenty of funky disco moments! The tracks are mostly groovers, but even the few mellow moments are great – and titles include "Phonic", "Give Me Love", "Make Up", "The Loft", "Strip Tease", "Experience", and "Deauville". The set follows with two more albums in the Brigade Mondaine series – both similarly groovy, with a wonderful mix of disco grooves and crime/cop soundtrack styles – and all three records come with original album sleeve artwork, and bonus CD versions of the material too! (Limited, numbered edition of 1000 copies!) ~ Dusty Groove

THE KONGAS – BEST OF THE KONGAS

Great grooves from The Kongas – a French disco group who worked heavily with the great Cerrone, but who also had a much rootsier feel overall! The Kongas style mixes in long percussion lines with plenty of keyboards – all in an extended clubby groove that has all the French disco appeal of Cerrone, but which also brings in some Salsoul touches as well! This sweet 2LP set appears to include both of the group's key albums – and titles include the side-long "Africanism/Gimme Some Lovin" medley – plus "Kongas Fun", "Dr Doo Dah", "Rocket In The Pocket", "Anikana O", "Tattoo Woman", and "Why Can't We Live Together". (LP comes with bonus CD version of the full album.) ~ Dusty Groove

CERRONE – LOVE IN C MINOR / CERRONE’S PARADISE / SUPERNATURE (3CD/3LP SET)

A wonderful package – a very limited set that includes the first three albums from Cerrone, with bonus CD versions as well! First up is Love In C Minor – the fantastic first album by Cerrone – a landmark disco record that features the 16 minute long "Love In C Minor" – a swirling bit of strings, beats, and female voices – one of those tunes that forever went onto change the face of dance music in the 70s! Cerrone really set up a whole new blueprint for club here – stretching things out plenty, and layering in subtle time and chord shifts that expose the proggish influences that filtered into French club as the 70s wore on! The title track's got some nice keyboards by the great Alan Hawkshaw – who sounds even better on the album's cool disco version of "Black Is Black" and the tight snare-beat original, "Midnite Lady". Cerrone's Paradise is Cerrone's second album – a swirling mix of disco beats and strings that follows very clearly on the spirit of his landmark first one! Like that album, this one's got a title track that runs well over 15 minutes long – building in a slowly dancing way that says everything about European disco styles that one track could ever hope to do! Other tunes on the album are shorter and tighter – with soulful vocals dancing in and out, and some nice keyboard work that makes the tunes sparkle with a sweet electric groove. Titles include "Take Me", "Time For Love", and "Cerrone's Paradise". Supernature is the height of French disco – a huge worldwide hit for Cerrone, a nutty bit of space disco that actually holds up pretty darn well over the years! The guy's not really a looker – and the strange "animal operation" cover almost makes this look like a prog rock album – which is where Cerrone probably got his inspiration for the incredible keyboard work on the set – but the record's a killer bit of club that went onto influence generations to come – and is arguably one of Cerrone's best moments ever! Includes the classic "Supernature", a catchy disco groover you'll recognize instantly – plus the tracks "Love Is Here", "Love Is The Answer", and "Sweet Drums". (Limited, numbered edition of 1000 – pressed on colored vinyl.) ~ Dusty Groove

DON RAY – GARDEN OF LOVE (CD/LP SET)

One of the coolest club projects of the 70s – a set of tracks based around the keyboards of Don Ray, but handled with lots of electronic disco touches from Cerrone! The pair are great arrangers on their own, but together they really make some magic – kind of a leaner take on the extended Cerrone groove – honed to a "t" in the studio, and sometimes given a nice punch with chorus vocals too. The tracks are shorter than you'd normally get from Cerrone, but still filled with all those freewheeling clubby grooves – warmly soulful undercurrents that make a great platform for the more electronic keyboards – never too cold at all, and a fair bit more personal than the sorts of keys we're used to hearing from the European scene. A really unique record – a partnership we wish worked together more like this, although we're plenty happy to have this treasure too! Titles include "Garden Of Love", "My Desire", "Body & Soul", "Got To Have Loving", and "Standing In The Rain". (LP comes with bonus CD version of the full album.)  ~ Dusty Groove

Jeff Coffin & The Mu'tet Releases Side Up

Mutation is defined as the changing of a structure, resulting in a variant form. That is a clear reflection of saxophonist and 3-time Grammy® Award-winner Jeff Coffin's philosophy that music must continue to change and mutate in order to grow. Side Up (available November 4 on Ear Up Records), the 6th release with his critically acclaimed band Jeff Coffin & The Mu'tet, showcases the astounding range of influences Coffin has absorbed as an in-demand sideman to a "who's who" of musicians.

Having performed with Béla Fleck & the Flecktones from 1997-2010 and Dave Matthews Band since 2008, Coffin has been traveling the globe as a saxophonist, bandleader, composer and educator since the late 20th Century. He has shared the stage with musicians such as Branford Marsalis, Bob Mintzer, John Scofield, McCoy Tyner, Galactic, and Kirk Whalum, as well as a wide variety of esteemed groups such as Phish, My Morning Jacket, Van Morrison, The Dixie Chicks, Umphrey's McGee, Widespread Panic, and Lynyrd Skynyrd, among others.

Featuring 5-time Grammy® Award-winning drummer Roy 'Futureman' Wooten, electric bassist Felix Pastorius, trumpeter Bill Fanning and pianist/keyboardist Chris Walters, Jeff Coffin & The Mu'tet strive to expand their horizons, as well as their fans, with music flavored by their eclectic interests on Side Up. The compositions blend sounds from the deep wells of New Orleans Second Line, African music, Indian Ragas, Brazilian music, folk, Gypsy, and straight ahead jazz.

Coffin has assembled a world-class lineup of guests for this outing - Zakir Hussain on tabla, Herlin Riley on tambourine, Radha Botofasina on harp, Rod McGaha and Mike Haynes on trumpet, Roy Agee and Barry Green on trombone, Denis Solee and Evan Cobb on tenor saxophone, Pat Bergeson on harmonica, James DaSilva on guitar, R. Scott Bryan on congas, and Ryoko Suzuki on harmonium.

The Mu'tet's mission is to deliver music that sends shockwaves down people's spines with their fierce soloing and memorable compositions. Coffin and Fanning aim for that goal sometimes by using guitar effects on their horns, which they call 'electro-sax' and 'space trumpet.'

Side Up marks the second consecutive recording which Coffin has extensively collaborated compositionally with The Mu'tet. Notes Coffin. "A great lesson I learned from Béla Fleck is to give the musicians freedom in finding their 'voices' in the music." Following that philosophy, Coffin only gave the sidemen a skeleton of sorts, which was then worked out in rehearsals to form an entire fleshed out body of work. Coffin continues, "These are some of the finest musicians I have ever had the opportunity to play with. What they bring to the musical table is astonishing."

The members of the band have the same admiration for Coffin as well. "I've been playing alongside Jeff Coffin now for well over a decade and I can easily say, without a doubt, that I would not be the person or musician I am today if it wasn't for that invitation to join The Mu'tet," reflects Pastorius who is also currently a member of the acclaimed Yellowjackets. "For years now, Jeff has been a constant reminder of dedication and hard work, and I believe it is no more apparent than in his sound and his music."

Upcoming Jeff Coffin & The Mu'tet Performances:

November 19 - 22 / Jazz at the Bistro / St. Louis, MO

January 16, 2015 / Jazz Arts Group - Lincoln Theatre / Columbus, OH

www.JeffCoffin.com

NEW RELEASES: PETE RUGOLO AND HIS ORCHESTRA – BEHIND BRIGITTE BARDOT; JUKEBOX MAMBO VOLUME 2: THE ESSENTIAL DEAN MARTIN

PETE RUGOLO AND HIS ORCHESTRA – BEHIND BRIGITTE BARDOT

A very cool record! The album's sort of an American tribute to the emerging French sex goddess Brigitte Bardot – one that features a gatefold cover with a wraparound photo of Brigitte, and some nice images on the inside. Music on the set is by Pete Rugolo – the master arranger who'd worked with June Christy, Stan Kenton, and others – and although Bardot doesn't sing or even make an appearance on the set, Pete does more than enough of a good job of conjuring up her presence with a good selection of jazzy tunes. Players include Pete Candoli and Jack Sheldon on trumpets, Frank Rosolino on trombone, Paul Horn and Bud Shank on reeds, and Laurindo Almeida on guitar. Gloria Wood sings on one track – and titles include "Arsenic Blues", "Paris BB", "Jeff's Blues", "Mambo Bardot", "A T'Aimer", and "The Night Heaven Fell". ~ Dusty Groove

JUKEBOX MAMBO VOLUME 2: AFRO-LATIN ACCENTS IN RHYTHM & BLUES (VARIOUS ARTISTS)

ong awaited follow up to the original game-changing Jukebox Mambo set of sweltering rumba accented Rhythm & Blues. Two years in the making, this sequel ploughs deeper still into the revolutionary '40s and '50s Afro-American musical canon, pulling together another combustible collection of lascivious Latin-edged blues exotica. Issued with extensive biographical notes and exclusive photographs on CD and deluxe old style 2LP paste-on gatefold (with A3 size show poster inside), Jukebox Mambo Vol. 2 is likely to be as influential in setting tastes as its predecessor. As with the first volume, this edition will also be released on an ultra limited, lavishly produced 1940s style 6 x 10" album set which boasts four exclusive extra tracks and expanded notes.

DEAN MARTIN – THE ESSENTIAL DEAN MARTIN

Some artists transcend the boundaries of critical examination and must be judged solely on their own terms. Dean Martin was in that rare category of artists whose uniqueness wholly set him apart from his contemporaries. Timeless, it's called. The 40 classic tracks on The Essential Dean Martin showcase the singular artistry that made him the essence of effortless cool. Inclides: That’s Amore, Sway, Memories Are Made Of This, Innamorata, Volare (Nel Blu Dipinto Di Blu), From The Bottom Of My Heart (Dammi, Dammi, Dammi), Senza Fine, Tik-A-Tee, Tik-A-Tay, Who’s Got The Action?, Baby-O, C’est Si Bon, Corrine, Corrina, Face In The Crowd, La Giostra (The Merry-Go-Round), Everybody Loves Somebody, The Door Is Still Open To My Heart, Every Minute, Every Hour, You’re Nobody ‘Til Somebody Loves You, You’ll Always Be The One I Love, Send Me The Pillow You Dream On, (Remember Me) I’m The One Who Loves You, Houston, Bumming Around, I Will, Somewhere There’s A Someone, Come Running Back, A Million And One, Nobody’s Baby Again, It Just Happened That Way, (Open Up The Door) Let The Good Times In, Lay Some Happiness On Me, Little Ole Wine Drinker, Me, In The Chapel In The Moonlight, I Can’t Help Remembering You, In The Misty Moonlight, You’ve Still Got A Place In My Heart, A Place In The Shade, I Take A Lot Of Pride In What I Am, Drinkin’ Champagne, and The Things We Did Last Summer.

NEW RELEASES: DON CHERRY / DOLLAR BRAND / CARLOS WARD – THIRD WORLD-UNDERGROUND; CLINT HOUSTON – WATERSHIP DOWN; EDDIE GOMEZ - DOWN STRETCH

DON CHERRY / DOLLAR BRAND / CARLOS WARD – THIRD WORLD-UNDERGROUND

A stunning little session – and every bit as wonderful as you'd expect from a lineup that includes Dollar Brand, Don Cherry, and Carlos Ward! The three players work together here in open, spiritual styles – with really long-flowing lines from Brand on piano, in a more modal style that's different from some of his other records – balanced out with bold trumpet lines from Cherry, and soaring alto sax from Ward – a player who doesn't always get the chance to step out this much! All three players vocalize a bit, but more in some sort of rootsy way that echoes the music – and the album's a really unique outing from all three players – and a set we'd rank with their best from the time. Titles include "Don's Song", "Cherry", "Bra Joe From Kilimanjaro", "Swazi", and "Jabulani Easter Joy". (SHM-CD pressing! Part of the Deep Jazz Reality series.)  ~, Dusty Groove

CLINT HOUSTON – WATERSHIP DOWN

One of the rare few albums cut as a leader by bassist Clint Houston – a player who always worked with very hip collections of musicians, including the lineup for this unusual date! The album's got a wonderfully warm, soulful vibe – a mode that's never polished or commercial, but which has Houston expressing himself in this very personal sort of way – in the company of players who include Onaje Allen Gumbs on piano and moog, Joanne Brackeen on piano, John Abercrombie on guitar, and Al Foster on drums – playing with even more sensitivity than usual. Abercrombie's especially great – and his chromatic notes have a way of ringing out with a slightly sprightly feel that illuminates some of Clint's deeper tones on bass – a balance that's also offset well by the acoustic piano. Titles include "Escape Velocity", "Watership Down", "Lifetrip", "Con Alma", and "Afternoon Moods". (SHM-CD pressing! Part of the Deep Jazz Reality series.) ~ Dusty Groove

EDDIE GOMEZ – DOWN STRETCH

Bassist Eddie Gomez hardly ever has a down stretch – especially given all the creative combinations he's worked in over the years – and this rare 70s album from Japan is more of a high point than anything "down" at all! The record's a trio date, with killer work on Fender Rhodes and piano from Takehiro Honda – who's easily one of our favorite Japanese pianists of the time, and a musician who really brings a different sort of energy to the record than some of Gomez's other sessions with piano players, especially Bill Evans. Drummer Elliot Zigmund is also nicely creative, too – really working the kit in unusual ways, and often staying back a bit so that Eddie can get some wonderful space in the lead, especially at the start of some of the songs. The whole thing's great – an overlooked moment of genius from Gomez – and titles include "Caprice", "Half Life", "Blues E", "Dream Passage", and "Down Stretch". (SHM-CD pressing! Part of the Deep Jazz Reality series.)  ~ Dusty Groove

Complete Pop Instrumental Hits of 1959 - Every U.S. Charted Single

Complete 60s Records has  collected every U.S. pop instrumental hit of the 1960s produced three spectacular box sets, but when they found it impossible to go forward past 1962, collectors demanded they turn back the clock to 1959, another great year for instrumentals. So now, on two jam-packed CDs, they have collected every charting U.S. pop hit from 1959 in sparkling fidelity, all 66 of them! Nearly a third of these (21) are CD debuts, tracks that appear on CD for the first time ever.

Even more exciting, Complete Pop Instrumental Hits of 1959 sports EIGHT iconic 1959 songs in real STEREO for the first time. These aren't just minor hits, but the biggest hits of the year in spectacular new STEREO that will knock your socks off. Check out the sound samples available elsewhere (search for CD Title + Listen). You won't believe your ears!

Starting with two #1 hits, "Sleep Walk" by Santo & Johnny and "The Happy Organ" by Dave "Baby" Cortez, they have alsoincluded the original single versions (in STEREO) of "Red River Rock" by Johnny & The Hurricanes, "Guitar Boogie Shuffle" by The Virtues, "Petite Fleur" by Chris Barber and "Wild Weekend" by The Rockin' Rebels (recorded in 1959)...plus even more. There haven't been this many new Stereo debuts of major hits from this long ago on a single collection EVER!

But beyond the new stereo, there's real depth here: these 66 songs offer a snapshot of 1950s instrumental music: rock & roll, orchestral pop, exotica, big bands, jazz, novelties, and more. Some of these singles spotlight specific instruments: guitar, clarinet, organ, trumpet, drums, or steel guitar. Others combine styles in surprising ways, like the rockin' strings of Franck Pourcel and Enoch Light, or the R&B/swing fusion of Ernie Fields' "In The Mood."

Many of the biggest names of '50s music are included: Duane Eddy, Billy Vaughn, Chet Atkins, and Ray Anthony, as well as many one-hit wonders like the (original) Intruders and the Megatrons.

The research team at Complete 60s combed the vaults for the best possible sources for these wordless wonders, making sure to always locate the original hit versions and compare them to the original 45rpm singles for authenticity. Then, two top sound engineers carefully remastered the original recordings until the twangy guitars, pounding drums, and soaring strings practically leap out of your speakers. You'll be speechless! Thank goodness, however, writer Greg Adams wasn't at a loss for words. His detailed 28-page liner notes include biographies of all 48 artists, plus release notes and chart information for every track.

The same creative folks who lovingly compile those great Eric CDs in the States produced this set for Complete 60s, so you know there's the same commitment to high-quality sound and attention to detail missing from so many oldies collections. Why settle for less? Why take chances with risky, off-brand, mediocre MP3 downloads of dubious origin?

This is a historic, must-have collection that no true instrumental enthusiast can be without. Simply put, if you love instrumentals of any kind, Complete Pop Instrumental Hits of 1959 is the ginchiest!

NEW RELEASES: DONNY OSMOND - THE SOUNDTRACK OF MY LIFE; HENRY MANCINI - THE CLASSIC SOUNDTRACK COLLECTION; LOURDES DUQUE BARON - TABLE FOR TWO

DONNY OSMOND - THE SOUNDTRACK OF MY LIFE

Donny Osmond is about to make music history: this year he celebrates 50 years in show business. To mark the occasion, Verve is delighted to announce the release of Donny s 60th album. Soundtrack Of My Life, is just that: a summary of Donny s extraordinary life so far. Each track tells a story, tracing the high and low points of both his professional and personal life from becoming a child star to achieving multiple No.1s, selling over 100 million records, and becoming a worldwide heartthrob. The album opens with the first record Donny ever bought, at the age of 11: My Cherie Amour, the 1969 soul classic by Stevie Wonder, with that famous harmonica line once more played by Stevie himself! This is followed by the No.1 hit single, Ben, originally written for Donny by Don Black and Walter Scharf. in the early 1970s. As Donny was away on tour at the time and unavailable for recording, the song was offered instead to his peer and good friend, Michael Jackson. The track went on to win a Golden Globe for Best Song. Here, for the first time, Donny finally records what was meant to be his song. Other significant tracks to Donny include Peter Gabriel s Don t Give Up poignant in that it was the song Donny s wife would play him as encouragement and Elton John s Your Song, which Elton was singing at a concert the moment Donny realized he would marry his wife (even though she was his brother s girlfriend at the time!). Here, as with all the tracks on this brand new album, Donny has been respectful of the original versions, yet brings his own magic touch to some of the best pop songs of all time. Together with three original numbers, we have nothing less than Donny s autobiography in music. ~ Amazon

HENRY MANCINI - THE CLASSIC SOUNDTRACK COLLECTION

In a career that spanned nearly half a century, Henry Mancini (1924-1994) became synonymous with catchy, jazzy, romantic music for film and television soundtracks. The Classic Soundtrack Collection, showcases all of Mancini s soundtrack albums for the RCA, Epic and Columbia labels, including several of his most iconic and beloved scores.  The collection features 18 original Mancini soundtrack albums on nine discs plus rare bonus tracks, including a never-before-heard version of Nothing To Lose from writer-director Blake Edwards 1968 comedy The Party performed by Julie Andrews. Taken together, the albums in this collection underline the enduring popularity of Henry Mancini and his unique ability to create movie music that pop audiences could also embrace. Albums listing: The Pink Panther (1964); The Return Of The Pink Panther (1975); Breakfast At Tiffany’s (1961); Charade (1963); Hatari! (1962); Oklahoma Crude  (1973); What Did You Do In The War, Daddy? (1966)l High Time (1960); Experiment In Terror (1962); Darling Lili (1970); Gunn (1967); Who Is Killing The Great Chefs Of Europe? (1978);  Two For The Road (1967); Arabesque (1966); The Great Race (1965); Me, Natalie (1969); The Party (1968); Visions Of Eight (1973). ~ Amazon

LOURDES DUQUE BARON - TABLE FOR TWO

Lourdes Duque Baron’s exquisite vocals, coupled with the composing eloquence of multi-platinum music producer, Andrew Lane create a playful sophistication akin to those revered by 50s and 60s jazz standards. Teaming up again with Lane, who also produced Baron’s last album and who also frequently collaborates with jazz music royalty Ron Ellington Shy, Baron winds up with a whimsical yet chic single that recalls the passionate late-night European sophistication of traditional jazz mixed with a contemporary sound. “Table For Two” is an original song Lane wrote specifically for Baron. He chose this song for Baron because of “her worldliness and her deep vocal sound.” Lane also composed the arrangement. The song is playful and paints a picture of warm intimacy and romance. Seldom has music seen a more versatile, talented, and dynamic performer than Lourdes Duque Baron as she proves with her vocal range here. Baron’s look and sound has been referred to as ‘timeless.’ Her music transports the audience back to those days of smoky, dim lounges where men in debonair suits would hover around women in glistening evening attire, and the clinging of martini glasses was endless. Without a doubt, the Rat Pack era is responsible for some very fine jazz standards.

Mole's Mark Aanderud & Hernan Hecht Present a New Take On the Piano Trio with their Highly Evocative 'RGB'

Freedom, experimentation and telepathy are the watch words for RGB, the latest transcendent collaboration of pianist-composer Mark Aanderud and drummer Hernan Hecht under their collective name of Molé. Joining the two longstanding partners on their second RareNoise outing is the inventive Japanese bassist and longtime New York resident Stomu Takeishi, whose highly expressive and adventurous low-end presence has graced albums by such forward-thinking, cutting-edge artists as saxophonist Henry Threadgill, cellist Erik Friedlander, trumpeter Cuong Vu, saxophonist Patrick Zimmerli, pianists Myra Melford and Satoko Fuji. Together these three refined, deep-listening musicians strike a rare accord on pieces that range from meditative motifs to rhapsodic crescendos, from spacious, ECM-ish soundscapes to turbulent, collective jams. 

It was nearly ten years ago that Mexican-born pianist-composer Mark Aanderud (now living in Prague) began playing with Argentinian drummer Hernan Hecht. Their chemistry was immediate and natural, eventually leading to the formation of Molé, a vehicle to explore their common interests. As Aanderud explained, "Hernan and I do have certain unspoken philosophies. We love sound, groove, freedom and songs. The first things we did were all related to free music, with electronic elements or not, but always with the idea of creating songs or forms in the moment. We do have some incredible magic going on, as much as we can play concerts or record without ever speaking of music, and never repeating ideas or stop developing. This actually hasn't changed over the years." 

After exploring their tight duet chemistry together on gigs, Aanderud and Hecht began inviting other musicians into their inner circle to see how it affected their music. "In the process of creation, we always considered the possibility of working with more people to achieve different characters, sounds and experience new artistic possibilities," explained Hecht. To date, those musicians who have stepped into Molé's inner circle have included American saxophonist Tim Berne, Israeli saxophonist Eli Degibri, Austrian saxophonist Edith Lettner, American guitarists Jonathan Kreisberg and Mike Moreno, Mexican bassists Aaron Cruz and Marco Renteria. Mole's hard-hitting 2012 RareNoiseRecords debut, What's the Meaning?, featured Mexican upright bassist (and Aanderud's boyhood friend) Jorge "Luri" Molina and New York guitarist David Gilmore, whose impressive list of credits includes tours and recordings with the likes of Wayne Shorter, Trilok Gurtu, Don Byron and Steve Coleman's Five Elements. 

On RGB, with bassist Takeishi affecting the overall vibe with his intuitive genius, things opened up and became more conversational and telepathic in the process. "After What's the Meaning?, it became very clear that the music we should continue doing had to go back to what we always did, and that was to experiment," says Molé's principal composer Aanderud. "And we always had Stomu in mind. We always loved his sound, his approach and concepts. He is unique artist. We couldn't think of anybody better for this, so we just decided to send him an email and invite him to do a tour and record. Once he said yes I started composing all the music thinking of the three of us. I wanted to do music that would be as open as possible but that would provide a rhythmic and structural base to start with. As you can imagine, Stomu absorbed and exceeded the music." 

From the meditative soundscape of "Sub-All" to the frantic funk of "Reasons," fueled by Hecht's slamming backbeats and Aanderud's hyper piano solo, to the suite-like "Trichromatic," which travels from an evocative rubato into to a free section in the middle which resolves to a lyrical theme, this edition of Molé is perhaps the most flexible and experimental of all. "Winip" opens with a hymn-like refrain before heading into a heavy-duty Bad Plus-like theme underscored by Hecht's big-as-a-house backbeats. "Freelance" has Takeishi pushing the envelope with effects before soloing over a drum 'n' bass groove by Hecht while "Rodriguez" is Molé's unique take on the classic Clyde Stubblefield-Jabo Starks funky drummer groove from classic James Brown bands of the '60s. The extremely spacious "T-Overlap" leads into some provocative collective improv while "Ine Sest" opens on a classical not with a piano etude by Aanderud before evolving into a whimsically tuneful number underscored by Hecht's supple brushwork. And the closing three-way conversation on "Wix," paced by an exacting and infectious 6/8 over 5/8 groove, is perhaps the best example of collective improvisation on the record. 

"I had written eight songs for this record," says Aanderud. "Some, like 'Winip,' 'Reasons,' 'Wix' and 'Rodriguez', had a lot of notes. So I thought I had to balance it and add some songs that would be easier and would provide an atmosphere for creating something. So I wrote other four songs -- 'Sub-All,' 'Ine Sest,' 'Freelance' and a fourth one that became the ending part of 'Winip.' But for the recording I thought we should start playing something free, and that was 'T-Overlap.' I liked it so much that I proposed to do another free improvisation which became 'Trichromatic.' After that we just went on to do what was planned. There is a lot of experimenting in the music, but there is very precise stuff. There are no chords on this music. There is no structure for improvisation either. Some ideas are very chromatic with hard rhythms and others are just the simplest I could think of. But there was always a direction towards improvisation." 

Aanderud is also quick to point out, "I had some clear influences for writing this music. Tim Berne was one, Paul Motian another. I was also inspired by other bands like Aphex Twin, Massive Attack, Lamb or Sigur Ros and, of course, Cuong Vu, Peabody and many other bands that may be of inspiration." While eight of the titles on RGB were composed by Aanderud, his kindred spirit Hecht is a key component in the band's overall sound. "In this Molé project, Mark is the composer and I create opportunities for the music to thrive," says the inventive and flexible drummer. "I'm involved in the creative process of interpreting the songs. In this environment, our aesthetics work together." Adds Hecht, "I think we are part of a worldwide movement, a generational shift that has fewer stylistic prejudices. I am interested in music that is broad, not determined by a style. I like breadth of concepts and the possibility of being in infinite change, refreshing me, trying to find freedom for the child in me and permit manifestations to occur in music; a deep love of life and nature, a freshness to grow and advance in years, sure to shape a better person and hopefully help make this world a better place for everyone." 

In the company of the extraordinarily sensitive and expressive bassist Stomu Takeishi, Aanderud and Hecht make some startling sonic discoveries together on RGB.

 

TRACKS

1. Sub-All

2. Reasons

3. Trichromatic

4. Winip

5. Freelance

6. Rodriguez

7. T. Overlap

8. Ine Sest

9. Wix

NEW RELEASES: MARIANNE FAITHFULL - GIVE MY LOVE TO LONDON; JIMMY CHAMBERS - YOU CAN'T FIGHT IT; LARRY CARLTON – FOUR HANDS & A HEART CHRISTMAS

MARIANNE FAITHFULL - GIVE MY LOVE TO LONDON

Legendary British singer Marianne Faithfull will celebrate her storied career's 50th anniversary later this fall with the release of Give My Love to London. Produced by Rob Ellis and Dimitri Tikovoi and mixed by Flood, it features an impressive roll call of studio collaborators including Adrian Utley (Portishead), Brian Eno, Ed Harcourt, Warren Ellis and Jim Sclavunos (The Bad Seeds). Songwriting contributors and co-conspirators - with Faithfull penning the majority of the lyrics - include Nick Cave, Roger Waters, Steve Earle, Tom McRae and Anna Calvi. While featuring a stellar supporting cast, it is Marianne Faithfulls voice which proves the main attraction. These are songs sung from the heart and soul and from the perspective of someone who has seen and done it all. Over a fifty year career, she has proved utterly fearless in her music and everything else besides. Five decades on, Marianne Faithfull remains a unique and compelling musical figure: adventurous in her life, adventurous in her art. ~ Amazon

JIMMY CHAMBERS - YOU CAN'T FIGHT IT

"You Can't Fight It" was written for John Carpenter's seminal "Assault On Precinct 13", but only made it onto the Italian release of the film, "Distretto 13", and was previously available only as a very limited 7" promo! 

Trinidadian Jimmy Chambers rose to fame in the early 90s in Londonbeat, achieving number 1 success in the U.S. Billboard 100 and Hot Dance Club back in 1991 with "I've Thinking About You". 15 years prior however he was commissioned to perform "You Can't Fight It", masterminded by British 60's legend Kenny Lynch. FBNM favourite Riccio has also provided us with a superbly authentic re-edit, only adding a little quantisation, fattening, stretch and sparkle to accompany the original faithfully and help translate this lost gem onto today's dance floors! This officially licensed premium 10" reissue features the original version carefully restored and remastered by Andreas "Lupo" Lubich (CALYX Berlin), in a vinyl only package featuring promotional art from the film, a digital download code and lyrics insert!

LARRY CARLTON – FOUR HANDS & A HEART CHRISTMAS

Guitarist Larry Carlton has a new album just in time for the holidays entitled Fou Hands & A Heart. Using the same technique and style from the Grammy nominated “Four Hands & A Heart Volume One” Larry Carlton creates a unique composition of classic Holiday songs that will put you in the Christmas spirit. Tracklisting includes: Have Yourself A Merry Little Christmas; Oh Come, Oh Come, Emmanuel (2014); The Christmas Song; Angels We Have Heard On High (2014); Silent Night (2014); Away In A Manger (2014); The First Noel (2014); Rudolph The Red-Nosed Reindeer; and We Three Kings (2014).