CHARLIE HADEN TEAMS UP WITH GONZALO RUBALCANO ON POSTHUMOUS RELEASE, TOKYO ADAGIO

A posthumous release, but one that Charlie Haden ardently desired prior to his passing in July 2014. Tokyo Adagio marks the ultimate step in the American bassist's collaborations with Gonzalo Rubalcaba, the pianist of genius he met in Cuba in 1986, and with whom Charlie immediately found an entente bordering on telepathy. 

Several recordings - the famous Montreal Tapes of 1998, the studio albums Nocturne (2001) and Land of the Sun (2004) - are evidence of the huge complicity binding these two musicians, but no recording had yet given new life to the pure exchange they gave to the audience at the Blue Note Tokyo on consecutive evenings in spring 2005.

Ten years later, impulse! is happy to publish this unique eye-witness account with a title to Charlie's taste (he referred to himself as "an adagio guy.") Through this tribute to the stateliness of his inimitable grace, the spirit of Charlie Haden is still with us.

  

LINER NOTES: TIMELESSNESS, AT NIGHT - by Ned Sublette

One of the qualities I most prize about this album is its paradoxical sense of timelessness and placelessness -- beyond jet lag, beyond the endless grey hours spent at 35,000 feet to get to the gig -- framed in a specific time and place. 

Tokyo, March 16-19, 2005: an audience in evening clothes, ordering drinks in Japanese whispers and inadvertently clinking their silverware, listened raptly as Gonzalo Rubalcaba and Charlie Haden connected with an almost Zen sense of stillness in a nocturnal musicspace. It's the paradox of recording: the moment is gone, but the moment is forever, encapsulating who the two men were when they played together. By the time this recording was made, they had been playing together for twenty years, leaving indelible imprints on each other's musical identities. 

All six numbers on this album have appeared previously on Charlie's various studio recordings, one of which was made in collaboration with Gonzalo called Nocturne. Musically, Charlie plays mainly a supporting part here, as bassists do, while Gonzalo does most of the elaboration, however it's Charlie who is directing the flow. It is Charlie who is the producer. 

I've been listening to Tokyo Adagio for six months now, and every time I hear it I'm struck by its sense of calm. There's even a feeling of serenity in the two uptempo numbers: Charlie's composition "Sandino" (whose title commemorates the Nicaraguan revolutionary leader), and Ornette Coleman's "When Will the Blues Leave" (which originally appeared on Coleman's groundbreaking 1958 album Something Else!!!!. Though Gonzalo is elsewhere a grandmaster of rhythmic complexity at high velocity, that's not what is happening here - instead a virtuosic sense of timekeeping manifests itself as simultaneities occur seemingly out of nowhere. 

Charlie loved movie music -- "My Love and I" is by quintessential Hollywood composer David Raksin -- and he had a streak of nostalgic romanticism that suffuses this recording. Two of the numbers are better known by their original Spanish titles: "The Edge of the World" is Martín Rojas's "En La Orilla del Mundo" (whose lyric, unheard here, describes wandering to an unfamiliar shore), and "You Belong To My Heart" is Agustín Lara's well-known bolero "Solamente Una Vez" whose title translates to "Only Once" (and whose lyric proposes that love is the hope that illuminates one's path.) 

For me, the most touching moment appears at the conclusion: Gonzalo's composition "Transparence" whose last musical utterance - the close of the album -- is played by Charlie who continues after Gonzalo's ending to play a figure that descends to the tonic, conveying a sense of finality that seems especially poignant now. In terms of sequencing the album, that was a compositional choice: Tokyo Adagio was put together with Charlie's full participation before he departed, and it was he who gave the album its haunting name. 

ABRIENDO CAMINOS / OPENING THE PATHS - by Gonzalo Rubalcaba, as told to Ned Sublette 

This album is the result of a four-night residency Charlie Haden and I played at the Blue Note in Tokyo in March, 2005. Over the years, we made music together in many different formats - trios, quartets, larger groups - but this date was just us, a duo of piano and bass. 

I first learned about Charlie when I was a teenager in Havana. It was difficult getting information in Cuba at that time, and it was even more difficult to find out about music from the United States. But every night, Monday through Friday at 11pm, Horacio Hernández (father of drummer Horacio "El Negro" Hernández) presented his jazz program on CMBF Radio Musical Nacional, and for that half hour I was glued to the radio. One night he played Keith Jarrett's, The Survivors' Suite, announcing the musicians' names -- Dewey Redman on tenor, Paul Motian on drums, Charlie Haden on bass.  I engraved those names into my brain. 

Then in 1986, when I was twenty-three, Charlie came to Cuba with his Liberation Music Orchestra to play at the Havana Jazz Plaza Festival. 

I had just flown in directly from Moscow after performing in the Soviet Union. I don't know exactly how it happened that the festival programmed my group, Projecto, on the same concert with the Liberation Music Orchestra, but, let's just say, that nothing happens on earth that is not observed by divine forces.

After we played our set, Charlie came over to talk to me. I didn't understand a word of English, so we had to have a translator.  "We have to play together," he said to me. "How can we do that?" He and I had someone arrange for us to go the EGREM recording studio the very next day. Charlie pulled out some charts and we played together for two or three hours. He left with a cassette of the session. He was very enthusiastic, and when he got back to the U.S, he took the tape to Bruce Lundvall of Blue Note Records: "Bruce, I want you to hear this. You gotta sign this kid, he lives in Cuba!"

Dizzy Gillespie had been in Cuba before Charlie, and Dizzy had already been talking about me, and Bruce had heard the talk. But Charlie was much more direct and assertive. He was persistent and diligent about making sure it happened.  There was a major obstacle, however: it was illegal in the US to sign a Cuban artist, so it had to be done through an affiliated company, Toshiba EMI in Japan. In the meantime, Charlie figured out a way for us to play an important concert together by inviting me to come to the 1989 Montreal Jazz Festival as his guest. The plan was for me to play a concert with him, and Paul Motian on drums, as part of the festival which had organized a 10-day tribute to Charlie. This was recorded by CBC and later became part of Charlie's The Montreal Tapes series. 

The first album we made, Discovery, was subsequently recorded live at the Montreux Jazz Festival in 1990, in a trio also with Paul Motian on drums. 

  

Bruce was at the concert as were the Japanese executives who approved the deal after we finished playing. At the time, the US wouldn't let me enter the country, so we recorded the second album The Blessing with Charlie and Jack DeJohnette in a studio in Canada. For me, just beginning my career, the way Charlie went about opening the path for me, made all the difference.

Despite the gap in our ages, he never treated me as an inferior in any sense. We had each other's confidence. We could talk about politics, life, family, business. Spending so much time with him, I learned not only about music, but also about being. Our connection was about love, for the music and for our families, and for each other.

CHARLIE HADEN- AN ADAGIO GUY - By Ruth Cameron-Haden

Charlie often said to me, and others, that he was an "adagio guy" - and he was! He loved the slow movements in classical pieces. Hence the title of this album is so appropriate.

By 2005 Charlie was already starting to experience the ill effects of post-polio syndrome that would later hasten his death. He had been battling aspiration pneumonia but nevertheless insisted on traveling all the way to Japan to perform with Gonzalo. Gonzalo was family and he wanted to take this opportunity to perform with him in duo. To explore the music in an intimate setting which was one of Charlie's favorite musical endeavors.  

He remembered their first meeting in Cuba in 1986 - so many years ago - when he first heard this young genius. He had then figured out a way to perform with him at a major concert in Montreal, Canada, and to later record with him. Gonzalo was subsequently able to get a recording contract, and the rest is history. 

Once Charlie was confined to home because he had become to ill to travel, he began to listen to tapes of previous concerts and discovered this gem. He immediately called Jean-Philippe Allard, our producer from impulse! Universal Music France, and a stalwart supporter of Charlie and his music throughout the years. Charlie asked Jean-Philippe to listen to the music. This had to be released! It was too good to be lost forever. 

Once Jean Philippe had listened to the tapes, he, too, agreed and together we began to choose the most important tracks to go on the album. Charlie listened for days with great intensity, using his refined senses until he made his decisions. His ear was huge and he always made the right musical choices. The mood is intimate, even hushed as each musician listens to the other, creating a tapestry woven from sheer beauty. 

Charlie and I are so lucky to have loyal friends in producers Jean-Philippe Allard  and Farida Bachir who love the music as much as Charlie and Gonzalo and I do that they want to release it to the world. 

We are now all so lucky to be able to share in this listening experience. Charlie has passed on but his spirit remains with us in his music forever.

Lovingly, Ruth 

Los Angeles, March 9, 2015

Danilo Pérez, John Patitucci, and Brian Blade Announce First Release as a Trio: Children of the Light

Danilo Pérez, John Patitucci and Brian Blade have been three quarters of the extraordinary Wayne Shorter Quartet for more than a decade. Since, they've also continued their individual careers as leaders of their own projects and groups. Now, on Children of the Light, they step forward as a trio for the first time with an imagination and fearlessness in their approach that defies the roles and ways of a trio in both obvious and subtle ways. 

"When I gave Wayne a copy of the recording I told him: 'this is for you, Doctor. This is our gift. This is our show of love, care and gratitude for all the lessons'," says Pérez. "The compositions on this recording represent the idea of 'going beyond the music.' That's what he has taught us: to not think about music just in musical terms but as a tool for the betterment of society. It's about creating music that brings people together." 

Daring and luminous, often an improbable mix of pointed, questioning turns and childlike joy, the music unfolds with mischievous unpredictability. The 11 tracks include original compositions by all three members of the trio and a fresh take on "Dolores," an old Shorter classic. Pérez, who typically plays acoustic piano, plays a Yamaha CP4 Stage electric piano on his West African-rooted piece "Lumen." Patitucci, who plays here acoustic, five and six-string electric bass, contributes three pieces, including "Ballad for a Noble Man," which features cellist Sachi Patitucci. Drummer and percussionist Blade contributes the soulful "Within Everything," perhaps the closest to a standard song in the program. It's a remarkable balancing act but even as they put their considerable talents to the service of the trio, each of the members maintains his distinct personality. 

"We can 'comprovise' (spontaneous composition) with dense harmonic and melodic forms, but we can also explore the beauty of a simple harmony," says Pérez. "And you can see the care each one of us put into the songs we brought in." 

The pieces themselves don't follow conventional song forms but rather suggest cinematic structures. Narratives do not always unfold linearly. Solos play out more like close-ups in the telling of the story than individual features."For us, it was like writing the soundtracks of our own lives," offers the pianist. "It was about using music to paint a scene, using the sounds to tell a story."

Children and light are two recurrent themes throughout the recording. The references to kids are not only explicit (such as the voices in Patitucci's "Milky Way") but also suggested by some of the themes, perhaps most evident in the playfulness of the motifs in the title track and "Sunburn and Mosquito" (dedicated to Carolina, one of Pérez's daughters). 

"Wayne has taught us the magic of having a simple idea," says Pérez. "Like in his 'Over Shadow Hill Way' (he sings the theme). In a way, I'm using my children as good judges for melodies. If they can sing it, if something sticks with them, I feel I'm on the right track."  

As for the idea of light, it is most obviously present in the song titles ("Moonlight on Congo Square," "Lumen," "Looking for Light" and "Light Echo/Dolores" to name a few) but it is also evident in the approach and the choices of open, translucent textures the trio favors. 

"'Light Echo' is just an introduction I put together and it's named after a phenomenon in astronomy," explains Pérez. The light echo is analogous to an echo of sound. "It is the echo of a burst of light, like at the creation of a star, and it can go on for a long time. For us, it has to do with Wayne's light echo and our hope of passing it on. We want to explore the galaxies together, but we also want to remain human and explore the earth." 

As for the playing, it doesn't take long to realize that this is not a conventional piano trio. Pérez, Patitucci and Blade first came together during the recording sessions for the Pérez's Motherland in 2000, and their work with Shorter since has fostered not only their audacity and cohesion as a trio, but also a distinct, shared language. 

"As a trio, we have found a way to orchestrate things differently, we overlap in a certain way that makes it feel like there are other instruments in there," says Pérez. "One of the things I feel is so strong is how we function without Wayne, and yet he is there in spirit. As a group, we have a language we play and his notes are felt even when he's not playing." 

The pianist further comments, "We didn't get together just to do a record. We've been writing music since we met, and Wayne has encouraged, supported, and guided us along the way." Pérez elaborates, "John, Brian and I have a long history, and this is not just a record for us but a commitment to continue the Shorter school. We have developed a language we call 'zero gravity,' a way of interacting, of orchestrating the music that we want to continue exploring and developing. While we were putting this record together there was no pretension, no grandiose ideas. This was simply three brothers who just wanted to keep the family together." 

The very name of the recording is a play on Shorter's "Children of the Night," a piece that first appeared on Art Blakey & The Jazz Messengers' Mosaic in 1961. 

Years ago, while they were touring, "It was John who said 'we should call it Children of the Light and bring a little light to the world'," recalls Pérez. "You say 'thank you' to a great man like Wayne not by imitating what he does but by playing off the language he created -finding a new language in the process. Like Wayne says: 'This is the new sound of the trio. You guys are touching another dimension'."

Symphonic Jazz Orchestra Honors George Duke's Legacy with Debut Recording, Looking Forward, Looking Back

The phrase 'symphonic jazz' was coined by bandleader Paul Whiteman in 1924 following the wildly successful premiere of "Rhapsody in Blue," a work he commissioned from a then little-known composer named George Gershwin. Fast forward to 2015, and the 67-member Symphonic Jazz Orchestra continues this important tradition through 14 years of commissioning new works and performing music that combines the worlds of jazz and classical. Their debut recording, Looking Forward, Looking Back, completes their historically focused mission originally conceived by Music Director Mitch Glickman and famed keyboardist, composer, and producer George Duke.

Founded by Glickman in 2002, the non-profit Symphonic Jazz Orchestra (SJO) was joined two years later by Duke as a co-music director, who helped to shape the orchestra over the next decade. Duke was featured in concert with the SJO throughout his involvement and was commissioned to write a new work for the orchestra featuring bassist Christian McBride. The work was premiered in 2011 and instantly, everyone knew this was a work that needed to be recorded.

The following year, plans were underway to record Duke's commission along with another newly commissioned work from guitarist and composer Lee Ritenour entitled "Symphonic Captain's Journey." The work that launched the symphonic jazz tradition "Rhapsody in Blue," is also included on the recording with piano soloist Bill Cunliffe. In 2013, Duke captured the arc of the works they planned to record by naming the album Looking Forward, Looking Back; but as pre-production plans were underway, the recording project took on a new personal meaning after the premature passing of Duke. 

"George's musical legacy is incredibly diverse and deep. From his work with Cannonball Adderley to Frank Zappa, from Miles Davis to Dianne Reeves, to his more than 40 solo recordings, he brilliantly fused many genres, including classical music," reflects Glickman. "The gift he left us was his 'Bass Concerto' written for Christian McBride and the SJO, and we knew we had to share this remarkable work with the world." 

The recording opens with the work that inspired this project, Duke's commission "Dark Wood: Bass Concerto for McBride." The two-movement concerto features McBride playing on three different basses throughout the course of the piece (upright bass, electric bass and fretless electric). Duke wrote this extremely challenging piece as a showcase of McBride's enormous talents. It includes notes that are not even on the bass (high Fs that McBride has to bend up to) as well as rhythmic passages that would scare off most bass players. On the recording, the rhythm section is rounded out by two incredibly supportive musicians, pianist John Beasley and drummer Marvin 'Smitty' Smith. 

The second commissioned work on the recording is Ritenour's "Symphonic Captain's Journey." Based on an older work by Ritenour, this two-movement piece also features the talents of pianist Dave Grusin, drummer Chris Coleman, with McBride returning to play bass. The opening movement "Calm" is an apt description as Ritenour is featured in a long lyrical melody. The second movement "Storm" opens with a piano cadenza by Grusin that connects the two movements as the rhythmic intensity builds throughout the second half of the piece. 

Gershwin's landmark "Rhapsody in Blue" concludes Looking Forward, Looking Back. The SJO takes a most interesting approach to this groundbreaking work, using the original 1924 orchestration, which only calls for 26 players, including banjo. Over the course of the work, Cunliffe is joined by bassist Robert Hurst and drummer Peter Erskine as each cadenza section develops the idea of a piano trio. It is an interpretation both historic and progressive. The SJO version reinstates much of the piano improvisation that was lost as "Rhapsody in Blue" became popular and subsequently edited. 

"George (Duke) left us with a tremendous legacy," SJO Glickman commented. "His commission 'Dark Wood: Bass Concerto for McBride' was a decade in the making. We spoke early on about a 12-minute piece that would feature Christian first on the acoustic and then electric bass. With George's insanely busy schedule touring and producing, it took a project cancellation to open up significant time in his schedule where he could focus on finishing the piece. And the more he got into the piece, the longer it grew. When it was finally done, a 23-minute tour-de-force showcase was finished that so wonderfully displays Christian's vast talents as a performer and improviser." 

Co-Producer and engineer on the record Erik Zobler (who was Duke's engineer for over 30 years) reflected, "While we are all still so saddened by George's death, we are so gratified to be able to finally share this incredible work with the rest of the world. Most people did not know George's orchestral side. George composed and orchestrated the entire work himself and it shows so many of the multi-faceted styles he loved - everything from Stravinsky to funk, Spanish to R&B."  

Looking Forward, Looking Back brilliantly captures the finest in new symphonic jazz works, while paying homage to its past. The forces of this special 67-member Symphonic Jazz Orchestra under the baton of Mitch Glickman bring to life works deserving of a wider audience as they continue to serve as the torchbearer of this unique genre of music. 

The Symphonic Jazz Orchestra (SJO) is comprised of Los Angeles's finest studio musicians and jazz soloists. Over the years, such world-class soloists as Dave Grusin, Christian McBride, Raul Midón, Luciana Souza, Lee Ritenour, and Yellowjackets have joined the ensemble. The SJO has commissioned twelve new symphonic jazz works, along with six world premieres and three U.S. premieres.

This summer the SJO launched the George Duke Commissioning Prize, an international competition that will select a composer to write a new work for the SJO in Duke's honor. The winner will be announced in conjunction with the SJO's album release in mid-September.

The SJO also maintains a very active "Music in the Schools" residency program. Having served over 40,000 students across Southern California, the SJO's music residencies inspire and educate the next generation of music lovers.

  

Symphonic Jazz Orchestra · Looking Forward, Looking Back

Mack Avenue Records  ·  Release Date: September 18, 2014 

FOURPLAY Celebrate Their 25th Anniversary With New Release SILVER

For two decades, the contemporary jazz quartet known as Fourplay has enjoyed consistent artistic and commercial success by grafting elements of R&B, pop and a variety of other sounds to their unwavering jazz foundations. In the course of a dozen recordings – six of which have climbed to the top of Billboard’s Contemporary Jazz Album charts – the supergroup has continued to explore the limitless dimensions and permutations of jazz while at the same time appealing to a broad mainstream audience.

The Fourplay story begins in 1990, with keyboardist Bob James, who had already established himself as a formidable figure in keyboard jazz – not just as an instrumentalist but as a composer and arranger as well – with solo recordings dating as far back as the mid 1960s. In 1990, James reunited with his old friend, session drummer, producer, composer & recording artist Harvey Mason (Herbie Hancock, Barbra Streisand, Notorious BIG), during the recording of James’ Grand Piano Canyon album. Also involved in the project were guitarist Lee Ritenour (Sergio Mendes) and bassist/vocalist Nathan East (Barry White, Eric Clapton, Phil Collins).

The Grand Piano Canyon sessions marked the genesis of the group that eventually came to be known as Fourplay. Their self-titled debut album was released in 1991, and included a blend of jazz, R&B and pop.

The original lineup of James/Ritenour/East/Mason stayed together for three successive albums, including Elixir (1994), a set that features some high-profile guest vocalists: Phil Collins, Patti Austin and Peabo Bryson. East also delivers some noteworthy vocal contributions on Elixir, and has continued to do so throughout most of Fourplay’s subsequent studio outings.

Ritenour, whose guitar work in tandem with James’ keyboards served as the cornerstone of the early Fourplay sound, left the lineup in the mid-1990s and was replaced by Larry Carlton (The Crusaders, Joni Mitchell, Quincy Jones). Carlton made his first studio appearance with the band with the release of 4 in 1998. 4 included compositions by all four members, as well as an impressive crew of guest vocalists: El Debarge, Babyface Edmonds, Kevyn Lettau and Shanice.

Following the 1999 release of Snowbound, a mix of traditional and contemporary holiday songs, Fourplay shook things up a bit with Yes Please!, an album that challenged the standard definitions of contemporary jazz by incorporating elements of blues, funk and even Celtic music. JazzTimes critic Hilarie Grey called Yes Please! “An expansive album that incorporates each artist’s strengths, and in the process travels in some unexpected directions.” Grey added: “Yes Please! works where similar projects fail simply because it lets its artists play, without imposing artificial boundaries.”

The sense of experimentation continued with the 2002 release of Heartfelt. The material in this set emerged from a series of improvisational performances that were assembled into full compositions. As a result, the tunes have less clearly defined melodies, but the overall album is both exploratory and accessible at the same time.

Journey, released in 2004, is a laid-back affair, but complex at the same time. Consistent with Fourplay’s eclectic philosophy, Journey incorporates a range of stylistic elements – as evidenced by such high points as the delicate cover of the 1993 Sting hit “Fields of Gold” and the Mason bossa nova flavored “Rozil.”

X followed in 2006, with guest vocals by blue-eyed-soul icon Michael McDonald, who delivers an inspired rendition of Steve Winwood’s “My Loves Leavin’.” JazzTimes called X “a softly funky, superbly crafted and unapologetically low-key album.”

Fourplay joined the prestigious roster of artists on Heads Up International, a division of Concord Music Group, with the 2008 release of Energy, which spent three consecutive weeks at the top of Billboard’s Contemporary Jazz chart. The album grafts a variety of sounds – R&B, pop, African and more – to Fourplay’s unwavering jazz foundations. In addition to vocals by East, Energy features a vocal track by bassist Esperanza Spalding.

After 12 years with the group, Carlton left in April 2010 to delve further into his solo career, and the band welcomed its newest member, multi-faceted virtuoso guitarist, Chuck Loeb. His musical contributions undoubtedly enhance the creativity and pursuit of excellence Fourplay has enjoyed in the studio and on the stage.

Loeb made his debut with the quartet on Let’s Touch The Sky, released in October 2010. The album also includes thrilling performances by guest vocalists Anita Baker and Ruben Studdard. The infusion of new blood into the Fourplay lineup created an opportunity to bring an even higher level of energy and inspiration into a band that is already known for taking chances and pushing the limits of contemporary jazz.

Esprit De Four, Fourplay’s September 2012 release, explores the place where four unique perspectives become a single creative force. That symmetry and creativity are at the heart of the album, which included the poignant but hopeful “Put Our Hearts Together,” written by James – with lyrics by his daughter, Hilary James, and vocal featuring Japanese superstar Seiko Matsuda – as a tribute to the victims of the devastating tsunami that struck Japan in March 2011.

On Silver, set for release on November 20, 2015, Fourplay celebrates their 25th anniversary with their most wide-ranging and gratifying recording to date. Following the theme of the occasion, most of the 10 new original compositions comprising Silver play off of the anniversary, bearing titles such as “Sterling,” “Precious Metal” and “A Silver Lining.” Just like its namesake, Silver shines, each track a brilliant example of what has made this formidable ensemble – each of whom also has a highly successful career outside of the band – one of the most respected in the jazz world.

NEW RELEASES: AARON PARNELL BROWN – THE TIN MAN; REAL SIDE RECORDS PRESENTS SOUL ON THE REAL SIDE LP#1; EUMIR DEODATO - SAMBA NOVA COMCEPCAO

AARON PARNELL BROWN – THE TIN MAN

Aaron Parnell Brown's no tin man here – as the record has a rock-solid sound from the very first note, and a fresh approach that really sets Brown apart from so many male soul singers in the contemporary underground! Aaron's got this laidback vibe in his music – a deeply soulful approach that flows at its own pace, and doesn't need to step out sharply, and knock you over the head – instead kind of sliding into each track with gentle care, then letting things build up as the warm vocals glow nicely over the course of the record. That doesn't mean that things are sloppy or sleepy at all – just carefully confident to never burn the fire too brightly at one point – and instead go for this slow burn that really keeps the album strong throughout. Titles include "Bleed Me Dry", "Can't Stop", "Just Leave", "Somewhere Around", "Changes", "Everlasting Light", "I Believe In You", and "We All Fall In Love Sometimes".  ~ Dusty Groove

REAL SIDE RECORDS PRESENTS SOUL ON THE REAL SIDE LP#1

Contemporary cuts mixed with rare soul nuggets – all in a blend that goes way beyond the usual soul compilation! The Real Side team have issued a number of underground tracks on their own during the past decade – but they've also got ears that are really tuned towards a unique slice of soul from the 70s – those tracks that might have a deep soul feel in the vocals, but a modern soul element in the rhythms – a blend of rough and smooth that really sparkles strongly on the older tracks on this set! This first LP in the series is a combination of tracks from all 3 CD volumes – with maybe a slightly stronger focus on recent material – and titles include "On The Real Side" by Larry Saunders, "Favour" by Jacqi Williams, "This Girl" by Cookin On 3 Burners with Kylie Auldist, "Love's Journey" by Mebus, "Keep On Pushing Love" by Al Green, "The Walk" by Jesse Gomez & TCB, "Born To Break My Heart (Carolina rmx)" by Roy G Hemmings, and "Hold On To The Blues" by Lonne Givens. ~ Dusty Groove

EUMIR DEODATO - SAMBA NOVA COMCEPCAO

Snapping percussion, sweet jazzy organ, and other great instrumentation – all dancing wonderfully together in this early bossa jazz set from Eumir Deodato! The album's got a simple brilliance that's totally great – and a sense of color, tone, and timing that really shows Deodato's skill at arranging – a mode that's sophisticated, but which never fails to groove! The whole thing's quite different than his later famous sides on CTI – and it's proof that even at the start, the maestro had a sound that was unlike anyone else. Players include Tenorio Jr on piano, Jose De Araju Oliveira on tenor, and Jorge Ferreira Da Silva on flute and alto – and titles include "Nana", "Straits Of McClellan", "Amor De Nada", "Garota De Ipanema", "Adriana", and "Samba No Congo". ~ Dusty Groove

Brazil meets New Orleans as NATION BEAT teams with CHA WA on CARNIVAL CARAVAN

It’s almost impossible to find music from New Orleans or Brazil that doesn’t have some connection to their respective Carnival traditions, featuring parades, call and response, roaring and rapid percussion, and most importantly - revelry! As Scott Kettner, band leader, describes, “Our goal with Carnival Caravan is to expose our fans to the traditional music of these cultural celebrations.  Most people aren’t aware of the Maracatu or Mardi Gras Indian traditions, and we want to bring this to our fans in the most interactive, enjoyable way - with our own particular twist of course” With their deliciously original sound and energy, they want to show audiences that there’s “more to the New Orleans party than just hanging out on Bourbon Street getting drunk.” Featuring musicians and party starters from Brazil, Brooklyn and The Big Easy, the project is naturally intertwined with movement and travel. Kettner’s partners include front woman Fabiana Masili, a soaring powerhouse vocalist and rising Brazilian star with a commanding stage presence and raucous, versatile guitarist Jules Belmont. The band is further propelled by fluid, animated bassist Chris Venditti and Brazilian percussionist Fernando Saci. When they hit the road together to tour it’s literally a caravan: “a Carnival party on wheels!” 

Nation Beat has shared the stage with artists such as Willie Nelson, Stanton Moore (of Galactic) and the legendary Maracatu Nação Estrela Brillante from Recife, Brazil. Nelson heard the group via an NPR segment in 2008, the invited them to play at his Farm Aid concert. “Hanging with Willie Nelson was a very overwhelming experience” says Scott. “He's an American icon and has been one of my musical heroes since I was a kid. Willie was very encouraging towards us and also very genuine. After playing with us his manager told me that he hasn't seen Willie smile so much on stage in a long time.”   When asked about Nation Beat, The Red Headed Stranger enthused “Just a fantastic group.  I was overwhelmed”.

Their recording project and subsequent tour with Maracatu Nação Estrela Brillante (“Maracatu Nation Bright Star”), titled “A Tale of Two Nations”, earned raves from the likes of  The New York Times and The Village Voice. The latter stated that Nation Beat is “globe-spinning, dangerously funky…Sure they're rooted in a mash-up of big-booming Brazilian maracatu rhythms and the percolating rat-tat-tat of New Orleans second line...But dig a little deeper and you'll find the downhome whine of Southern-fried slide guitar, deep country melodies and beaming zydeco flavors.” The American/Brazilian collective also counts NPR’s Banning Eyre as a fan, calling them “the most original and alluring fusion group I have heard in years.”

In 2002, Scott began teaching maracatu percussion classes in New York to bring the rhythm he was so passionate about broader recognition and to build a community and an audience around it.   In 2006 and again in 2008 he brought twenty students to Recife, Brazil to perform at Carnival, the country’s grandest and culturally resonant celebration. Scott created a cultural exchange program that over time saw Maracatu New York evolve into a top-notch professional percussion group that has inspired countless other groups and artists worldwide.

Scott met Spy Boy “Honey” Banister and fellow percussionist Joe Gellini of Cha Wa in New Orleans during a undoubtedly rowdy Mardi Gras parade. Honey, a traditional Mardi Gras Indian, leads the band with joyful flair, and his intricate suit, fashioned with beads, feathers, and sequins is an immediate show stopper wherever he performs.

“Many artists in the world music field jump around from country to country over the span of their career,” Scott muses. “But I haven’t nudged an inch.  Brazil and New Orleans have remained my source of inspiration for more than 10 years.” As an American and Brazilian collective, Nation Beat truly belongs to both sides of the equator. Look out for the “Carnival Caravan” coming to your market this summer!

North American Tour Dates

June 27 @ SOBs - New York City, NY

July 8th @ Carl Schurz Park - NYC, NY

July 11th-12th @ SunFest - London, ON

July 14th @ PanAm Games - Toronto, ON

July 30th @ Huntington Summer Arts Festival - Huntington, NY

July 31st @ Littlefield - Brooklyn, NY

Aug 1st @ Queens Library - Queens, NY

Aug 2 @ Summer Stage - New York City, NY (with Nação Zumbi)

Aug 8th @ Musikfest - Bethlehem, PA

 

New album coming soon from musician and producer Darren Rahn

With over 25 #1 radio singles and four Grammy nominations over the past 11 years as an artist, producer and mixing engineer, Darren Rahn has become urban jazz’s premiere sonic architect, the “go-to” guy for established genre greats and up and comers looking for their next sure-fire hit. Yet in signing with Woodward Avenue Records and recording his fifth album, the British Columbia born, Denver based saxophonist – who launched his solo career with Soulful in 2004 - is after something more meaningful than a few more instantly infectious smashes. The multi-talented performer’s desire to launch his second decade as an innovative powerhouse by creating music in his truest voice, straight from the heart, is perfectly in line with the label’s unique mission: to let artists make music authentic to themselves, beyond the trappings of formulas and strictly commercial considerations.

Rahn’s lifelong affinity for woodwinds started as a kid with the clarinet before he taught himself baritone sax to join his junior high jazz band. He has infused his previous four albums – including Once in a Lifetime (2005), Talk of the Town (2009) and Speechless (2012) – with a mix of tenor, alto and soprano. On the new album, he believes that the best way to display the purest representation of his artistry is to focus strictly on the tenor. “I’ve matured to the point on my musical journey where I believe it’s time to really make that choice,” he says. “I’ll still play alto and soprano live, and will play alto, soprano and baritone on future recordings, but the horn that shows my heart and my core as a musician, and that I wanted to showcase on this album, is the tenor.”

Another unique element is the decision to go with all live drums, as opposed to his previous trademark mix of live and computer generated grooves, in addition to instruments like the Hammond B-3 organ and Bosendorfer piano. Because the project is about much more than simply creating ten new potential singles for radio, he is also composing some longer tunes, and ones that explore his equal passions for pop, rock and R&B/funk – as well as his lifelong affinity for the gospel music he grew up playing. Rahn’s desire to keep things as organic and raw as possible may also lead to a bona fide, expansive jazz fusion track.

“The new album will be my most honest and heartfelt to date, with real musicians and an overall live performance feel,” he says. “I’ll have some of the flare and style people are used to from me, but I’m not looking to conform to the genre but instead draw from those funk, jazz fusion and gospel roots as well. This record is really going to showcase my ‘voice’ as an artist more than I’ve done previously, as well as show more versatility. I’m working to make it my best engineering and production to date, but the essence is being built around the saxophone, completely reflective of the blessed place I am in my life.”

Six years after the untimely passing of his close friend, contemporary jazz bass great Wayman Tisdale, Rahn is paying homage to him via the ballad “Losing You.” Rahn explains, “It was a song I could have recorded earlier, but I didn’t feel ready until now. It’s designed to pay homage to a great musician and wonderful friend while also bringing me personal resolution. For fans, his loss was tremendous, but for those of us who were closest to Wayman, his loss was more impactful than anyone could imagine. This tune was my way of saying I’m now at peace with his loss as much as I can be.”

Rahn, who launched his career producing, engineering and mixing for local Denver area artists starting in the late 90s, began working with Tisdale after Rendezvous Music, an independent label co-owned by Dave Koz, showed interest in signing him. While the label couldn’t commit to adding Rahn to their roster, they were so impressed with his production that they offered to have helm a track for Tisdale, one of their top artists. In 2004, just as his own solo career was gaining steam, Rahn produced the bassist’s hit cover of “Ain’t No Stoppin’ Us Now”; it was in the pole position on the airplay charts for four weeks and stayed in the Top 10 for nearly eight months. His subsequent production work on Tisdale’s Way Up! project led him to earn one of his Grammy nominations; the others came from his contributions as a producer and/or mixer for three Dave Koz projects: Greatest Hits, Hello Tomorrow and Summer Horns.

Rahn’s dual paths as an artist and producer reached a unique pinnacle in 2008-2009, when his own single “Talk of the Town” hit #1 on the Billboard jazz chart (followed by the Top 5 track “What Cha Gonna Do For Me”) and he scored three consecutive #1 productions (14 weeks in all) on the Radio & Records smooth jazz chart, holding the top position with Koz, Eric Darius and Tim Bowman. During this time, Rahn held the top three chart positions for several weeks and had as many as four songs in the Top Ten at the same time. Over the years, as his detail-oriented sonic excellence led to more and more hit recordings, his resume has grown to include everyone from Toby Keith, Jonathan Butler and Najee to Bob James, Kirk Whalum, Jeffrey Osborne, Phil Perry, Jeff Lorber, Norman Brown, Jonathan Fritzen, Scott Allman, Julian Vaughn, Nate Harasim, Nick Colionne, Lebron, Dave Bradshaw, Jr., Patrick Lamb and Ryan Montano.

Growing up on a farm in in a small British Columbia mountain town and later in San Diego, Rahn’s formative musical experiences – and the foundation of his later passion for jazz and other genres – came from playing gospel music. In addition to performing at his home churches, he toured around with his parents’ singing group. Throughout his journey, he played everything from traditional hymns to mainstream Southern gospel tunes. After playing jazz in both junior high and high school, he studied music as an undergraduate at Adams State University, then earned his master’s and part of his Doctorate at the University of Northern Colorado in classical saxophone and jazz pedagogy. Settling in Denver, Rahn by 1997 was self employed as a free lance producer, writing his own material on the side as he worked towards his eventual emergence as a solo artist.

“Working on the new album, I’ve really been enjoying the variety of music that draws from all of these musical roots,” he says. “It was especially fun and effortless recording the gospel tune because that was such a huge part of my background. Because of the freedom I have to explore as an artist with Woodward Avenue Records, I also appreciate the opportunity to approach the compositions more from a melodic sense. I am building all of the songs around melodies I compose at the piano, as opposed to starting with big production ideas and working the tunes around those. I’m really excited about this special project and the start of this new phase of my solo career.”

Contemporary jazz singer Carol Duboc releases her seventh album “Colored Glasses” // Collaborates with Jeff Lorber on R&B grooves

On Carol Duboc’s deeply personal 2013 release, “Smile,” the contemporary jazz singer-songwriter opened up in a way that she had never done so before, revealing the pain and heartache involved with dissolving her marriage while being the mother of a young daughter. She described writing the album with producer and jazz keyboards legend Jeff Lorber as therapeutic. Her therapy continues on “Colored Glasses,” a Gold Note Music ten-track disc written and produced by Duboc and Lorber set for release on September 18 and launched that evening with a Hollywood concert date that will be streamed online.

Two years on, Duboc’s new material details her struggles with cutting the ties of the relationship, one tinged by her partner’s delusional view of the world. Writing lyrics and melodies to rhythm tracks sent to her by Lorber, Duboc addresses the realities and realizations of moving forward with honesty and candor, even if she felt her ex was hiding the truth behind “colored glasses,” thus spawning the album’s title. But she acknowledges her own role as well. 

“Some people refuse to see the world as it really is or life as it is, and to be honest, I was so caught up in the hypnotic love that I didn’t see things as they really are either,” admitted Duboc, who titled the first single “Hypnotic.” “I think this album is going to surprise people. It’s about letting go completely and moving on emotionally. And it may be the funkiest solo record I’ve ever made.”

Lorber’s R&B rhythms are lively throughout the soulful, sophisticated session of jazzy adult pop tunes. A marquee supporting cast brings high-caliber musicianship to the taut grooves with stellar performances by Jimmy Haslip (electric bass), Brian Bromberg (acoustic bass), Vinnie Colaiuta (drums), guitarists Paul Jackson, Jr. and Michael Thompson, Hubert Laws (flute), Eric Marienthal (sax), Lenny Castro (percussion) and multi-instrumentalist Lorber on keyboards, piano, bass and guitar. Dave Mann punches up several cuts with crisp horns and vivid horn arrangements that add vibrancy, lushness and depth.

“Hypnotic” will be serviced to radio next month coinciding with the release of a video lensed on Venice Beach for the album’s “Wavelength,” a danceable guitar and horn-driven song about intuitive communication between partners. To mark the album’s release and celebrate coming through the other side of the relationship, Duboc will perform at the famed jazz joint the Baked Potato on the release date (Sept. 18), which will be streamed live on her website (www.CarolDuboc.com). Lorber, Haslip and Thompson are among the musicians from the album’s lineup already confirmed to be backing the singer that night. 

A native of Kansas City, Missouri, Duboc has been living in Los Angeles ever since she attended USC Thornton’s School of Music. Prior to launching her solo recording career in 2001with the critically-acclaimed “With All That I Am,” Duboc wrote hits on gold and platinum-selling albums, including records by Patti LaBelle, Chante Moore, Tom Jones, Stephanie Mills, Jade, Fine Yong Cannibals, Maurice White and the late George Duke. Possessing multimedia appeal, the photogenic blond had a supporting role on the silver screen in “Be Cool” alongside John Travolta, Uma Thurman and Danny DeVito.        

The songs on “Colored Glasses” are:

“Hypnotic”

“Every Shade of Blue”

“Celestial Skies”

“Wavelength”

“Breathing”

“Trajectory”

“Spinning”

“Colored Glasses”

“Walking in My Sleep”

“Code Red”

NEW RELEASES: QUANTIC PRESENTS THE WESTERN TRANSIENT – A NEW CONSTELLATION; JILL SCOTT - WOMAN; FOUR80EAST - POSITRACTION

QUANTIC PRESENTS THE WESTERN TRANSIENT – A NEW CONSTELLATION

A tremendous new project from Quantic – a set that has him moving into spiritual jazz territory, with all the depth and care he brought to previous funk and Latin projects! The music here is a mix of electric and acoustic modes – played by Will Holland on guitar with a group that also includes tenor, flute, trumpet, keyboards, moog, and some mighty nice percussion – all used in these warmly flowing ways that are totally wonderful – like some lost, underground 70s set on a tiny label by a local combo – performed with an understated brilliance that really holds us rapt! For a guy who could come on strong at times, Quantic seems to do even more by laying back a bit – and really letting the group energy flow on songs that include "Jumble Sale", "New Constellation", "Bicycle Ride", "The Orchard", "Mirzan", and "Latitude". CD features bonus track – "Latitude (to the point version)". ~ Dusty Groove

JILL SCOTT – WOMAN

Jill Scott's first album away from Hidden Beach – and a set that really marks a tremendous comeback for the singer! Jill sounds better here than we remember in years – as sharply focused and musically pointed as on her tremendous debut from the start of the century – with energy that's apparent from the very first note – both in Scott's vocals and the overall construction of the tunes! All the older, funkier elements from hip hop are in the mix – but as on her debut, they never overwhelm her vocals – and instead seem to empower the singer to be as bold, as righteous as she can possibly be – really winning us all over again with her music. Titles include "Fool's Gold", "Back Together", "Run Run Run", "Wild Cookie", "Prepared", "Lighthouse", "Coming To You", "Beautiful Love", and "Jahraymecofasola".  ~ Dusty Groove

FOUR80EAST - POSITRACTION

Positraction is the seventh studio album from acclaimed nu-jazz group Four80East. Head-nodding beats and driving bass hooks combine with deft soloing and cinematic soundscapes to create an exciting and unique sound that has garnered the band a devoted fan base around the world. This time around, the funk ante has been upped with the addition of a horn section on several tracks, and the overall vibe is energetic and positive. Includes: Positraction; Eegee Beegee; Into the Wind; Hold a Candle; Dirty Stack; Tikitango; Soft Focus; Cookie Strut; Window Seat; and Moment to Moment. ~ Amazon

AndersonPonty Band Featuring Music Icons Jon Anderson & Jean Luc Ponty To Release New CD/DVD “Better Late Than Never”

One of the most eagerly awaited releases of 2015 by the AndersonPonty Band, featuring music icons Jon Anderson and Jean Luc Ponty, is scheduled to hit the streets early Fall 2015! “Better Late Than Never” is the new album taken from a live performance, and enhanced with innovative production. The package includes a bonus DVD featuring outstanding performances by the band captured in September 2014 at the Wheeler Opera House in Aspen, Colorado.

The AndersonPonty Band has created some breathtaking new musical compositions. “Better Late Than Never” also showcases rearrangements of classic YES hits like “Owner Of A Lonely Heart”, “Roundabout” and “Wonderous Stories”, as well as some of Jean Luc Ponty's beloved compositions, with Jon's lyrical vocals and melodies enhancing the music and creating a very special and unique sound such as “Infinite Mirage” a new song incorporating Jean Luc's classic tune “Mirage”.

YES's original singer/songwriter for 35 years, Jon Anderson has had a successful solo career, which includes working with such notable music artists as Vangelis, Kitaro, and Milton Nascimento. International violin superstar Jean Luc Ponty is a pioneer and undisputed master of his instrument in the arena of jazz and rock. He is widely regarded as an innovator who has applied his unique visionary spin that has expanded the vocabulary of modern music. Together these two music legends have formed a musical synergy that is unparalleled!

“A breakthrough feeling came as I sang with Jean Luc's music, to be in a band again is very exciting on many levels, we will play and sing our way around the world and have fun, for music is pleasure, music is all that is.” - Jon Anderson

“Collaborating with Jon who is such a creative singer/songwriter is unlike any project I have done before. I knew that we had plenty of musical affinities to make it work, but the result is way beyond my expectations. It is also a lot of fun to reunite with these excellent musicians who played with me in the past, they really put their heart in this project and with Jon's creative input we are not just rehashing the past but giving a new life to the music we started developing decades ago.” - Jean Luc Ponty

The AndersonPonty Band also includes Jamie Glaser on guitars - well known guitarist who has worked with Jean Luc Ponty, Chick Corea, Bryan Adams and Lenny White; Wally Minko on keyboards - virtuoso player and composer who has performed and recorded with many worldwide stars including Pink, Toni Braxton, Jean Luc Ponty, Tom Jones, Gregg Rolie and Barry Manilow; Baron Browne on bass who has played with Steve Smith, Billy Cobham and Jean Luc Ponty; and Rayford Griffin on drums and percussion, who has played with Stanley Clarke Band, George Duke, Jean Luc Ponty and Michael Jackson. The band visit the music created by Jon Anderson and Jean Luc Ponty over the years with new arrangements, virtuosic performances and new energy.

Jean Luc Ponty was originally approached by Jon Anderson with the idea of working together as far back as the 1980's. Now 30 years later the dream has finally come to fruition! In support of the new release, a world tour is currently in the works. Also, a videography documenting the making of the “Better Late Than Never” album will be released along with videos and performances.

AndersonPonty Band tour dates:

10/27 - Philadelphia - Keswick Theater

10/29 - Red Bank, NJ - Count Basie

10/30 - Ridgefield, CT - Ridgefield Playhouse

11/1 - Pittsurgh - Carnegie Theater

11/3 - Chicago - Arcada Theater

11/4 - Milwaukee - Milwaukee PAC

11/6 - Detroit - Detroit Music Hall

11/7 - Toronto - Danforth Music Hall

11/10 - Washington, DC - Howard Theater

11/11 - Long Island - Paramount Theater

11/13 - NYC - Ethical Culture

11/14 - Boston - Berklee Performance Center

11/17 - San Francisco - Regency

11/18 - Sacramento - Crest Theater

11/20 - Los Angeles - Saban Theater

11/21 - Scottsdale - Talking Stick

SOUL/JAZZ/GOSPEL SINGER/SONGWRITER OLETA ADAMS SHARES HER BELIEF IN THE POWER OF MUSICAL PRAYER ON TWO NEW DIGITAL SINGLES, “LONG AND LONELY HOURS” AND “SAFE AND SOUND”

Twenty four years after Oleta Adams’ empowering version of the Brenda Russell-penned “Get Here” became a Top 5 Billboard 100 hit, earned her a Grammy nomination for Best Female Pop Vocal Performance and was adopted as an anthem for the U.S. troops in the Gulf War, the veteran soul, jazz and gospel singer, songwriter and pianist continues to touch people around the world with comfort, compassion and a beautiful, much needed sense of catharsis.

Responding graciously to fan requests for recordings of two of her most requested songs of the past few years, Adams has simultaneously released “Long and Lonely Hours” and “Safe and Sound” digitally in a multitude of platforms – including iTunes, CD Baby and Amazon.com. More than simply lush, heartfelt ballads showcasing her trademark stunning vocals, these two tracks were written as musical prayers touching on important spiritual and societal issues.

Inspired in part by the last years of her mother’s life as she battled cancer, “Long and Lonely Hours” (subtitled “Prayer of the Afflicted”) touches upon the loneliness of a dying person and the questions, hopes, doubts and fears that go into a prayerful conversation with God during the struggle between life and death. It is a song for anyone who has ever suffered or known someone who has been through the experience. In the bridge section, Adams asks, “Lord, can’t you hear me in my suffering/Prayers of a sorrowful song/Father come near me, help me, love me/Don’t let me anguish too long.” Later she asks directly for healing, whether that may come physically in this life – or as a release into the next: “Father, hurry, don’t delay/Master, you’re the great physician/Could you please heal me today.”

On the soulful and lyrical, acoustic guitar driven “Safe and Sound,” Adams offers a heartfelt prayer of protection in response to recent events that have jarred our collective sense of security, and an increasingly troubled society that is often frightening for parents raising young children. Adams concludes each of the three verses describing different stages of a child’s life with a plea that resonates with all mother and fathers: “Keep him safe and sound/Keep him safe and holy/When I’m not around.” In the bridge, she reflects on the connection between earthly parents and our Heavenly Father: “What a mystical creation you’ve turned our lives into/From the love that we’ve been given/We’re living to give him right back to you.”

“Long and Lonely Hours” and “Safe and Sound” are the lead tracks of an upcoming album (release date TBA) of musical prayers that Adams is currently working on entitled A Place for Peace.

“My interest in writing songs as musical prayers stemmed from some observations I made after 9/11, when people were shaken and found themselves back in church, seeking comfort and healing, holding hands and lighting candles – yet not knowing quite how to articulate meaningful prayers that captured their emotions and needs,” says Adams, who released the gospel oriented album Come Walk With Me in 1997 – seven years after her breakthrough Circle of One.

“My journey into this type of songwriting has been about exploring what prayer means,” she adds “Over the years, fans who came to my shows told me they used my music to soothe them in their time of sorrow, and it came to my heart that perhaps I could help them learn the words to say. One of my favorite parts of being a performer is having the opportunity to bless people with my music, be part of their lives and write and sing songs that comfort them through difficult times.”

Adams has been in typical whirlwind touring and performing mode throughout 2015, having recently returned from South Africa (where she performed with singer/guitarist Jonathan Butler) and heading soon to the North Sea Jazz Festival and then Istanbul. In August, she will be performing in Chicago and San Jose, CA with drummer/composer Terri Lyne Carrington; Adams appears on Carrington’s upcoming The Mosaic Project: Love and Soul, which also features R&B and jazz greats Natalie Cole, Lalah Hathaway, Chaka Khan, Ledisi, Chante Moore, Valerie Simpson, Nancy Wilson and Lizz Wright.

TOUR DATES

July 10 – North Sea Jazz Festival – Holland

July 12 – Istanbul, Turkey

Aug 8 – San Jose, CA – San Jose Jazz Festiva

Aug 22 – Chicago, IL – LIttle Black Pearl

Aug 28 – Richmond, VA – PRIVATE EVENT

Aug 29 – NYC, NY – BB Kings Blues Club

Sept 11-12 – Boston, MA – Scullers Jazz Club

Sept 27 – Houston, TX – House of Blues – Fundraising Event

Oct 8 – Amsterdam, Holland – PRIVATE

Oct 13 – Houston, TX Zilkha Hall – PRIVATE

Nov 6 – Alexandria, VA –

Nov 7 – Annapolis, MD

Dec 12 – Cerritos, CA – Cerritos Performing Colors of Christmas

Dec 14-15 – San Francisco, CA – Symphony Hall  – Colors of Christmas

Brazilian group Bixiga 70s new album, III

Five years after their inception, the Sao Paulo based Brazilian group Bixiga 70 continues to travel musically forward, only to find themselves more and more at home.

The band’s aptly named third album, “III”, is a luminescent and energized admixture of Atlantic cultures. The album’s hyper-contemporary dialogue journeys between the sounds and rhythms of Brazil and Africa, and between the band’s ten musicians and their distinctive musical identities. Their collective influences include jazz, funk and Afro-Brazilian music, and stretch further afield into dub and reggae, electronics, cumbia and carimbó, ethio-jazz and samba.

Bixiga 70’s “III” is a breathtaking rhythmic storm where inspired solos, harmony and dynamics, beats and improvisation all mesh together in vital and unpredictable ways. Spanning between a joyous danceability, a sharp sense of humor and committed political reflections, the life-blood of this ten-piece unit is instrumental music, but it is an instrumental music that speaks profoundly.

Self-produced by the band in their own studio in Sao Paulo (and mixed by Victor Rice) all the compositions on “III” are written and arranged by the entire Bixiga 70 collective. There are no liner note details: the process of creation is decentralized and acknowledges the importance of each musician in the room. The album was recorded live in the studio to further assure the depth of this collaborative spirit and to accentuate the intensity of the band’s sonic experiments.

Following the global attention garnered by their previous album 2014’s “Ocupai” (Mais um Discos), Bixiga 70 headed out into the world. Their musical travels to Europe, the USA and Morocco, as well as the many varied regions of Brazil (including the streets of Bixiga) have all left a deep mark on the sounds and visions of the new album.

Throughout the nine tracks found on “III”, styles merge and original syncretisms come to life. The album shape shifts contemporary afro-funk, Moroccan cumbia, spiritual jazz, adapted afro-brazilian chants, Cuban blaxploitation, sounds from São Paulo’s Black Rio movement, Arabian dub, Malinké drumming, Angolan guitar music and traditional bamboo fife bands.

There is no doubt that Bixiga 70 is one of the guiding voices of Brazil’s contemporary instrumental music scene and their new album “III” clearly demonstrates why.They are a band that deftly searches for untracked and thrilling musical spaces to occupy. And most importantly, they are a band that succeeds in finding them.

NEW RELEASES: ZAC HARMON - RIGHT MAN, RIGHT NOW; JONI MITCHELL & HERBIE HANCOCK - BREAD & ROSES; INCOGNITO - LIVE IN LONDON 35TH ANNIVERSARY SHOW

ZAC HARMON - RIGHT MAN, RIGHT NOW

Zac Harmon is an award-winning guitarist, organist, singer and songwriter whose distinctive style combines the best of old-school soul-blues artists with modern lyrics and themes that bring the blues into a new century. 'Right Man Right Now' is contemporary music that proves just how alive and relevant the blues is today. Addressing issues straight from today's headlines, Harmon presents them in a fresh original style built on the best blues tradition. And he has some incredibly talented musicians helping him, with guests including Bobby Rush, Lucky Peterson, Anson Funderburgh and Mike Finnegan. A native of Jackson, Mississippi, Harmon played guitar for Z.Z. Hill, Dorothy Moore and Sam Myers before moving to L.A., where he established himself as a successful session musician, songwriter and producer, working with the likes of Evelyn 'Champagne' King, The Whispers, The O'Jays and Black Uhuru. Harmon won the Blues Foundation's prestigious International Blues Challenge (IBC) title of 'Best Unsigned Band' and two years later won the Blues Music Award for 'Best New Artist Debut'. Since then, he has become one of the strongest live performers in the genre, thrilling fans everywhere from Memphis to Mumbai, and with 'Right Man Right Now' he finally brings that excitement to a brand new album, his bluesiest ever. The album provides definitive proof that Zac Harmon is indeed the right man to firmly establish all that blues can and should be right now in the second decade of the new millennium. ~ Amazon

JONI MITCHELL & HERBIE HANCOCK - BREAD & ROSES: THE 1978 FOLK FESTIVAL BROADCAST

In the late 70s Mimi Fariña, the folk singer and younger sister of Joan Baez, established the annual Bread & Roses Festival of Music as a fundraiser for her co-operative social organisation of the same name. The event featured the music world s leading activists and politically engaged artists: Stephen Stills, Pete Seeger, Tom Paxton and Bonnie Raitt among them. The second Bread & Roses Festival took place over the Labor Day weekend in September 1978 at the Greek Theatre in Berkley and marked the stunning comeback of one of the greatest singer-songwriters of all time: Joni Mitchell. Joni Mitchell had not performed live since her appearance at The Band s Last Waltz nearly two years earlier and had been undergoing a stylistic transformation, turning away from the acoustic folk of her early career to explore Jazz influenced work. Mitchell s appearance at Bread & Roses was the highlight of the festival, broadcast live by the radio station WBUR, she was joined on-stage by the jazz legend and pioneering fusion artist Herbie Hancock. The set correspondingly featured a full exposition of her new direction - material from Hejira as well as the first incarnations of songs from Mingus , the concept collaboration with Charles Mingus that would not surface until almost a year later. Bread & Roses is a rare and fascinating record of Joni Mitchell during one of her most artistically fertile, daring periods.; coming in advance of Mingus , there s also a loose, exploratory feel to the performance, as Mitchell tests her new work in public for the first time. This concert is quite simply essential listening both for Joni Mitchell fans and anyone wishing to acquaint themselves with one of the most iconic, innovative voices in music. ~ Amazon

INCOGNITO - LIVE IN LONDON 35TH ANNIVERSARY SHOW

On July 12, 2014, Incognito threw a party that will surely be remembered for years to come. To celebrate the band's 35th anniversary in style, Incognito played a show at London's O2 Shepherd's Bush Empire and invited friends, family and fans to join them for a wild night out. With guest performances by genre and music companion Mario Biondi, American soul diva Carleen Anderson and friends and artists from former and current times like Mo Brandis and Imaani, Incognito dug up songs from now and then for an amazing performance, delivered in style, with passion, with soul, with heart. The band's greatest hits like their #6 UK single charts success “Always There”, their first single ever “Parisienne Girl” as well as recent songs like “Goodbye To Yesterday”, fan favourites and songs dear to the band are represented on this night to remember. The memorable gig brought the essentials of Incognito, the jazz, blues, funk, soul, latin and dance together for a perfect blend. The songs are just as surprising on the HD live video as on CD - a great emotional atmosphere where to feel that Incognito loves and lives the music. Embedded with funky grooves and huge soulful voices this music experience will definitely give you goose bumps in its quieter parts and animate you to lose control in the faster ones. So it's time now to turn up the volume control and dance! ~ Amazon