NEW MUSIC: GARY WILLIAMS – AT THE MOVIES; STANLEY COWELL – NO ILLUSIONS; ESTRADA ORCHESTRA - JAZZBEATJAATIS

GARY WILLIAMS – AT THE MOVIES

At The Movies celebrates five decades of Hollywood classics, including hits from Lock Stock and Two Smoking Barrels, Love Actually, Toy Story, Saturday Night Fever and Jungle Book. Dipping into jazz, bossa nova, pop and swing there are four lesser known gems from Elvis Presley movies and original takes on standards from Joni Mitchell, Fred Astaire and The Bee Gees. Hot on the heals of last year’s Christmas album Big Band Wonderland, AT THE MOVIES features some of the UK’s finest musicians: Matt Regan (piano), Joe Pettitt (bass) and Elliot Henshaw (drums) with original arrangements from Phil Steel, Paul Campbell and New York’s Caleb Collins. Marking a departure for Gary, who made his name singing the songs of Frank Sinatra, you'll hear hints of Michael Franks, Nora Jones and Michael Bublé on this contemporary classic. Gary made his name as a soloist with big bands and concert orchestras, including the Royal Liverpool Philharmonic, the Melbourne Symphony, the BBC Concert Orchestra, Ireland’s RTE and the Lahti Sinfonia Finland. He’s performed for The Prince of Wales at Buckingham Palace, the LA Jazz Institute and Ronnie Scott’s. As a broadcaster he’s presented for BBC Radio 2, Jazz FM and The Wireless. Playbill called his book ‘Cabaret Secrets’ “an invaluable guide”. He’s recorded 15 albums, including 3 at Abbey Road and a Jazz FM album of the week.

STANLEY COWELL – NO ILLUSIONS

A nicely fresh setting for pianist Stanley Cowell – a record that moves past his more frequent trio format, to feature the longstanding genius in a quartet with Bruce Williams on alto and flute! Williams has a laidback, lyrical tone that seems to bring out a different side in Cowell's music – especially as the album mostly features the pianist's own compositions – a way of building up his sound slowly, with a more quiet-burning version of the spiritual energy of Stanley's youth – yet still with end results that are equally redemptive, and very beautiful overall. The rest of the group features Jay Anderson on bass and Billy Drummond on drums – and Cowell also plays a bit of thumb piano and kyma too. Titles include "Celestial Women", "No Illusions", "Miss TE & O", "Sunlight Shifting", "B Minor Folksong", and "Nostalgia For Homelands". ~ Dusty Groove

ESTRADA ORCHESTRA - JAZZBEATJAATIS

A fantastic full album from this ultra-cool group – a funky combo from contemporary Estonia – with ties to the Misha Panfilov Sound Combo that you might know from a sweet selection of recent 45s! Misha's in this group on bass, and also produced the record – with a raw sound that makes the whole thing a fantastic criss-crossing of deep funk and some freer jazz energy – all at a level that makes the whole thing completely fresh, and one of the hippest underground records we've heard in a while! These guys aren't really spiritual jazz, but they clearly get that energy – and although they play hard, they're not straight funk either – as they spin out on longer tracks and really know how to take solos – serving up excellent sounds on flute, tenor, alto, and a range of great keyboards – all set to nicely heavy drums, on titles that include "Nite City", "Envelope", "Garden Of Pleasures", "Queens", and "Troubled Mind". (Limited edition of 500!)  ~ Dusty Groove

MULTI-INSTRUMENTALIST VALENTI FUNK RELEASES PHYSICAL EDITION OF DEBUT ALBUM, VALENTI, OUT NOW

Well known around Texas for his contributions with the award-winning group The Effinays and funk-disco up-and-comer Ronnie Heart, multi-talented instrumentalist, composer, and producer Valenti Funk is determined to introduce his unparalleled brand of funk-fusion to the masses. Valenti, whose name is inspired by his Valentine’s Day birthday, has released newly remastered physical copies of Valenti on his own record label, Clear Zebra.

The June 7th release date was decided in honor of the birthday of the late Prince, who Valenti recognizes as a major influence, even going as far as getting “The Love Symbol” tattooed on his body. Having already performed alongside industry legends Snoop Dogg (Lion), Grupo Fantasma and Ozomatli during his time with the Effinays, Valenti Funk shows himself as a fully-capable one-man rhythm section in his solo-debut, Valenti. Funk’s techniques (including the ability to play drums and keys at the same time) and arrangements lay the perfect foundation for the inclusion of equally impressive guest features. Album features include the likes of Effinays front man Big Spook, the soulful voice of LaLa Johnson, a dose of introspective lyricism of Zach Pohl, Kevin Snearley, Keyln Crapp, Aisha Mars, and the hip-hop delivery of Versatile.

The elegantly titled Valenti was recorded at various studios around the DFW Metroplex as far back as 2010. Coordinating recording schedules between juggling touring gigs across the nation induced a slow-but-steady approach to crafting the finished product. Studios used include Session Work Studios (Hurst, TX), The Track Studio (Plano, TX) with the bulk of the work being done by longtime Effinays producer Rev. Rudd at The House of Rudd in Euless, TX, providing a well-developed chemistry.

The genre-bending album brings something for everyone to appreciate while gravitating around a consistently funky backbone. “Irving/Bear Creek, Texas,” an instrumental homage to his hometown sets the tone for the entire album. “Party Fiesta” delivers go-go music to the spotlight with vocal support from Effinays bandmate Big Spook. “More Light” gives a smooth walking bassline to a conscious reggae theme. “Some Mo” combines soul and disco with a modern club feel composition. “Side to Side” brings a taste of dance-friendly chillwave, while “Stank” adds a blusey rock edge to the album. Valenti is capped off with “Chill On the Couch,” a track destined for romantic date-night playlists, and “Parking Spot,” a shout out to car enthusiasts everywhere that creates a hip-hop changeup to the album.

With the release of Valenti, Funk steps out from his usual role of drums and keys into the spotlight as a proficient, well-rounded composer ready to make an impact on the world. Complex rhythmic play and soulful melodies shine over the persistent pocket of Valenti Funk. Top-tier musicianship combined with a little help from his friends should put Valenti’s arrangements on the radar of vocalists nationwide. 

Cécile McLorin Salvant Announces Third Album, Dreams And Daggers, 2-CD Set, Deluxe 3-LP 180 Gram Vinyl Set

GRAMMY® Award-winning vocalist Cécile McLorin Salvant has had a remarkable rise to stardom in her professional career, and she's taking another big leap forward with Dreams and Daggers, her third album for Mack Avenue Records. More information on the release, which will be available September 29th, is forthcoming.

McLorin Salvant first made waves in the jazz world when, at the urging of her mother, she entered the most prestigious jazz vocal competition in the world. Having nearly missed the submission deadline, she made it to the finals as their youngest performer and was selected by an illustrious panel of judges -- Dee Dee Bridgewater, Dianne Reeves, Kurt Elling, Patti Austin, and Al Jarreau -- as the 2010 Thelonious Monk Competition winner. While she had bypassed the traditional U.S. conservatories and jazz schools, McLorin Salvant studied at France's Aix-en-Provence before returning for the competition's semi-finals, the judges noted her remarkable voice and striking ability to inhabit the emotional space of every song she heard and turn it into a compelling statement.

In 2013, McLorin Salvant made her Mack Avenue Records debut with WomanChild, garnering a GRAMMY® Award-nomination, NPR Music's pick for "Best Jazz Vocal Album of the Year," and three placements in DownBeat's critic's poll as "Jazz Album of the Year," "Top Female Vocalist," and "Best Female Jazz Up and Coming Artist of the Year," among many other accolades. Her 2015 follow up release, For One To Love, won the GRAMMY® Award for "Best Jazz Vocal Album."

McLorin Salvant's music has been featured in multiple Chanel "Chance" campaigns and is included in the soundtrack for HBO's acclaimed film, Bessie. New York Times Magazine included her recording of "Trolley Song" as one of "25 Songs That Tell Us Where Music Is Going," The New Yorker profiled her at age 27, Vanity Fair featured her in their "Millennials That Are Shaking Up The Jazz World" piece, Essence Magazine noted her as one of "13 Emerging Black Women in Music," and Gilles Peterson included her as an "Artist to Watch" in The Atlantic. Learn more about McLorin Salvant on NPR's "All Things Considered" and "Fresh Air," New York Times' "Close at Hand," or watch her perform on BBC's "Later... with Jools Holland" and PBS' "The Tavis Smiley Show."

  

Cécile McLorin Salvant  ·  Dreams and Daggers

Mack Avenue Records  ·  Release Date: September 29, 2017

WITH AGRIMA, ALTO SAXOPHONIST RUDRESH MAHANTHAPPA REUNITES THE INDO-PAK COALITION FEATURING GUITARIST REZ ABBASI, DRUMMER/PERCUSSIONIST DAN WEISS

Rudresh Mahanthappa's Indo-Pak Coalition has been hailed by The New York Times as

"a trio equally grounded in folk tradition and jazz improvisation, propos[ing] a social pact as well as a musical ideal."  The ensemble's three formidable talents – Mahanthappa on alto saxophone, Rez Abbasi on guitar, and Dan Weiss on tabla – first documented their group conception in 2008 with Apti, which won praise from The Guardian for its "irresistible urgency."

Agrima, the long-awaited follow-up, finds Mahanthappa and the group expanding aesthetic horizons: adding a modified drumset, incorporating effects and electronics, and working with a broader audio canvas overall. The core of the band's sound, the vibrant presence of Indian rhythmic and melodic elements in a charged, modern improvisational framework born of the New York jazz scene, remains firmly in place.

According to Mahanthappa, "Agrima" in Sanskrit simply means "next" or "following." It comes at a propitious time for all three members: Mahanthappa has enjoyed great success with his Bird Calls quintet and recently became Director of Jazz Studies at Princeton University. Abbasi, born in Karachi, Pakistan and raised in California, has revealed a rare mastery of guitar in a range of settings including his own RAAQ acoustic quartet and his heavily electric project, Junction. Weiss, a voraciously eclectic drummer with interests ranging from classical tabla performance to metal, has garnered acclaim for his work ranging from solo drums to trio to large ensemble.

"I wanted everyone to think about Agrima as if we were making a rock album," Mahanthappa declares. "Apti is almost 10 years old and I think the way that the three of us conceive of non-Western or Indian music sonically and technically has really evolved. So I didn't want us to be concerned with having an overt Indian sound. I wanted to highlight our interactions, which we've developed since 2005 when the band premiered at New York City's Joe's Pub."

From all three instruments we hear a heightening of expressive nuance and possibility. Mahanthappa's alto is transformed in places by software-driven effects to create strange processed timbres, echoes, decays and soundscapes. "Working with electronics is like learning a new instrument," Mahanthappa says. "It takes a bit of thought to figure out how to have a voice in that realm. I ended up doing some work with Neil Leonard [from the Berklee College of Music's program in Electronic Production and Design]. He's also an alto player. He wrote a piece for the two of us, just two altos and our laptops, and he made all these patches for me, allowing me to use them however I wanted. I was always interested in electronics but my initial foray was not until Samdhi, (2011). That was really kind of a more instinctive approach but in the end it turned out really cool and I got what I wanted. Electronics was something I always wanted to get back to."

Abbasi's guitar, clean-toned and fluid (at times even acoustic) on Apti, becomes something bigger and more foreboding on Agrima: there's an edge and growl to the tone, a looming presence and sustain in the low notes, and more atmosphere thanks to an array of pedal effects that complement Mahanthappa's electronics at every turn. But perhaps the most pronounced shift from the previous record is Weiss's hybrid setup, melding tabla with drum set. "A while back we had a gig coming up in Montreal," Mahanthappa recalls, "and Dan asked what I thought about having him still be seated playing tabla but also with pieces of the drum set around him. We didn't even rehearse it, we just got to that sound check a half-hour early and Dan threw this thing together that ended up being amazing. That's how we've played ever since. On some tunes Dan only plays drum set, in fact. It all stems from our shared experience and our relationship to Indian music and jazz, which transcends the instrumentation."

In January 2017 the Indo-Pak Coalition premiered the new set of music that would become Agrima at globalFEST in New York. The energy of that encounter carried forward into the studio, from the eerie rubato incantation of "Alap" to the spiky lines and bracing tempo of "Snap," from the looping synthesized patterns, fractured beats and sunny temperament of "Agrima" to the simpler, moodier medium groove of "Showcase." The band is in peak form, executing tough thematic material, attending to fine dynamic contrasts, shifting tempos with spellbinding ease, and of course improvising with depth and ferocity.

There are riveting musical stories to be heard within "Rasikapriya" and "Revati," ambitious works with ever-shifting rhythmic foundations, gamboling between hyper-precision and pure abstraction. Between the slow and measured legato of "Can-Did" and the agitated esprit of "Take-Turns" we hear the play of extremes, of the unexpected, a many-sided adventurousness that is the Indo-Pak Coalition's reason for being. Inimitably rendered by three of the most mature and compelling players of our time, Agrima is an album likely to resonate through the years.

Few musicians share the ability of alto saxophonist/composer Rudresh Mahanthappa to embody the expansive possibilities of his music with his culture. What has materialized is a sound that hybridizes progressive jazz and South Indian classical music in a fluid and forward-looking form that reflects Mahanthappa's own experience growing up a second-generation Indian-American.

Hailed by the New York Times as possessing "a roving intellect and a bladelike articulation," Mahanthappa has been awarded a Guggenheim Fellowship, a New York Foundation for the Arts Fellowship, and commissions from the Rockefeller Foundation MAP Fund, Chamber Music America and the American Composers Forum. He has been named alto saxophonist of the year for six of seven years running in Downbeat Magazine's International Critics' Polls (2011-2013, 2015-2017), and for five consecutive years by the Jazz Journalists' Association (2009-2013) and again in 2016. He won alto saxophonist of the year in the 2016 JazzTimes Magazine Critics' Poll. In April 2013, he received a Doris Duke Performing Artist Award, one of the most prominent arts awards in the world. In 2015, he was named a United States Artists Fellow. In 2016, he was named the Director of Jazz and the Associate Director of the Program in Musical Performance at Princeton University.

Mahanthappa is a Yamaha artist and uses Vandoren reeds exclusively.

Cleveland’s own Odyssey and Company are riding high on the radio airwaves

Cleveland’s own Odyssey and Company has been impressing music lovers for over 26 years with their soulful approach to Rhythm and Blues and Jazz.

Mike Harris, Randall Priest, Randell McShepard and Anthony Rice are responsible for the electrifying vocals that the group is known for at their live performances. Tight harmonies, skillful choreography and debonair stage apparel has been a signature of the group since its inception in the 1980’s as a high school doo-wop quartet. The group’s professionalism and solid reputation as a “show band” over the years has led to many opportunities to open for major recording artists including Levert, After 7, Take Six, The Manhattans, Troop and The SOS Band, to name a few.

The group has released many singles that received significant airplay in several cities throughout the Midwest, the East Coast and the South, including “Young Girl”, “She’s Perfect”, and “A Whisper Away” (Produced by William Howard of the Dramatics). In the mid 1990’s, the group recorded an album under the tutelage of the O’Jays’ lead producer, Dwayne Mitchell. Each of the vocalists has also recorded extensively with other groups and on other projects.

Another claim to fame for the group has been its extensive travel and ability to win over fans in cities including Guantanamo Bay, Cuba; Yokohama, Japan; Toronto, Canada, New York City and throughout the State of Ohio. The group also performed on the national talent search television show, Big Break, which was hosted by Natalie Cole. The NBC show was televised in 120 U.S. cities.

The group attributes its longevity and staying power to a “deep respect for the history of Rhythm and Blues and Jazz and the entertainers of yesteryear.” The group believes that crooning, choreography and showmanship is a dying art that needs to be highlighted and celebrated for current and future generations.

Odyssey and Company is currently working on a recording project while continuing to perform at live concerts in the Cleveland area and beyond. The project’s first two singles, “Tune It Out,” and “Would You? Could You?” were released in 2016 and received favorable national airplay. Their latest single, “Wait Until Tonight” was released in May of 2017 and is receiving rave reviews for its captivating sound and addictive chorus.

The group is excited to be making quality music again and continuing to satisfy its large following of fans and supporters.

NEW MUSIC: JAMIROQUAI - AUTOMATION; CANDY DULFER – TOGETHER; MARC ANTOINE – LAGUNA BEACH

JAMIROQUAI - AUTOMATION

Global electronic soul funk sensation and international tastemakers, Jamiroquai, announce their 8th studio album – the first piece of new music from the band in seven years. Founded in 1992 by front man Jay Kay, the pioneers of “future funk” have taken the world by storm, establishing themselves as one of the most successful popular acts on the planet. Since the release of their debut album ‘Emergency on Planet Earth’ in 1993, Jamiroquai have completed reinvigorated modern pop music while also paving the way as chief influencers of some of today’s most exciting artists. With famous fans including the likes of Chance the Rapper, Pharrell, Tyler the Creator, Jungle, Redman & The Internet as well as historic performances alongside Stevie Wonder & Diana Ross, Jamiroquai have consistently proved themselves as one of the globe’s most revered and unifying musical innovators of our time. With over seven albums reaching the UK Top 10 (and three reaching #1), the Grammy Award winning band have sold over 26m albums worldwide and hold the Guinness Book of World Records record for best-selling funk album of all time. ‘Automaton’ Vinyl is a double heavyweight vinyl consisting of twelve tracks including singles, ‘Automaton’ and ‘Cloud 9’ and a Sound of Vinyl download card.

CANDY DULFER – TOGETHER

Dutch saxophone player Candy Dulfer again stretches her musical borders with the release of 'Together', her first new solo album in six years. 'Together' sees Candy return to her Funk roots, while the uplifting album is also a melting pot of diverse influences culled from Jazz, Disco, Soul, Dance, and R&B as well as her own interpretation of what's going on in modern Pop music. She created a personal mix, connected to the characteristic sound she is known for worldwide. 'Together' stands for connection; the one she feels with her music but also the unity that needed in the world of today. On this album she also responds for the first time on the passing away of Prince, in a way that she thinks suits best, through music with a special tribute to the musical genius that put her on the map back in 1989 with the famous words "When I want sax, I call Candy". All in all, her fourteenth album is a new chapter in the long running career of the versatile saxophonist and one that will be promoted with live shows throughout Europe, Japan, Mexico and the US.

MARC ANTOINE – LAGUNA BEACH

After 12 years living in Madrid, Spain, Parisian born acoustic guitarist Marc Antoine celebrates his return to Southern California with his highly anticipated Woodward Avenue Records debut Laguna Beach. Keeping his trademark 'classical soul' vibe front and center, he artfully balances crisp sonic production edges with balmy, breezy light funk melodies (as on the infectious title track, also the lead single), brassy energy, cool samba excursions and sensual romance. Produced by Antoine, Laguna Beach features guest spots by keyboardist Philippe Saisse, guitarist and labelmate Paul Brown (who also mixed the project), harmonica master Tim Welvaars and trumpet great Rick Braun.

NEW MUSIC: JOAN OSBORNE – SONGS OF BOB DYLAN; AARON ABERNATHY - MONOLOGUE; KENNY WELLINGTON – FREE SPIRIT

JOAN OSBORNE – SONGS OF BOB DYLAN

Multi-platinum singer and songwriter, Joan Osborne announces the release of her ninth studio album, Songs of Bob Dylan, set for release on September 1, 2017. On Songs of Bob Dylan, Joan Osborne unleashes her sizable gifts as a vocalist and interpreter upon Dylan's celebrated canon with performances honed by Osborne's time spent performing "Joan Osborne Sings The Songs Of Bob Dylan," two critically acclaimed two-week residencies at New York City's Cafe Carlyle in March 2016 and 2017.Osborne felt free to play with the songs' arrangements, a process that was also enabled by the virtuosity of Osborne's collaborators, guitarist Jack Petruzzelli (Patti Smith, The Fab Faux) and keyboardist Keith Cotton (Idina Menzel, Chris Cornell), who performed with her at Cafe Carlyle, and with whom she co-produced the album.

AARON ABERNATHY - MONOLOGUE

Monologue plays out like a novel, where the Abernathy's expand the perception of family over Ab's expansion of the stripped down Soul and R&B music we're used to hearing. Whether he's playing piano, wurlitzer, synths, guitar, programming drums, live drums, or arranging strings and horn lines, Ab's mastery of musicianship is on full display through Monologue's array of colorful, complex compositions, coupled with his rich, layered vocals. The album opens with him honoring his parents on the whimsical, Parliament-influenced selection Son Of Larry, followed by the melodic up-tempo Favorite Girl. On both records, he praises his father and mother and touches on their influence, words of wisdom and bold love. On the groovy Bachelorette, where we’re introduced to Ab's pursuit of his high school love interest, the track gets an assist from long-time collaborators and hip hop heavyweights Phonte and Black Milk. Ab displays his sultry edge on the Prince-inspired soul-pop records I See You and Pretty Kind, which showcase his raw and playful vocal lead. Doubt creeps in on the soulful mid-tempo Play It Cool, where he questions if he should profess his love or take the approach of the track's title. The landmark moment in his story comes from the wisdom in his father's advice to be vulnerable, which leads us into the brilliant composition and standout ballad I Need To Know. Ab delivers his monologue on the title track, where he acknowledges his mistakes and revels in his spirituality and newfound wisdom in love. Monologue is a touching and refreshing album about family, love, purpose and music. Ab has the ability to make listeners feel connected, each song taking audiophiles on a trip back to their childhood and the nostalgic feeling of young love.

KENNY WELLINGTON – FREE SPIRIT

Trumpet player Kenny Wellington was an original founder member of the groups Light Of The World and Beggar & Co and continues to write, arrange, produce and perform. As well as performing and recording with those groups he has recorded, arranged and played live dates with many artists from the different genres of soul, jazz funk, rock and pop. These artists include fine artists such as Tina Turner, Spandau Ballet, Paul Weller, and many others. The inspiration for this album was to really tip the hat to all those great horn players over the years that have entranced us with the beauty of their music, Donald Byrd, Jimmy Owens, Chuck Mangione, Eddie Henderson, Freddie Hubbard, Miles of course and so many others, the sound of the tenor voices, the flute, trumpet, flugelhorn, vibraphone a touch of strings all in the mix. Kenny has tried to find the balance within, to be able to listen and enjoy, to dance and to chill, to enjoy.

NEW MUSIC: BRENDA HOLLOWAY - SPELLBOUND: RARE AND UNRELEASED MOTOWN GEMS; SAM FLETCHER - SINGS; SOUL UNDERSTATED FEATURING MAVIS "SWAN" POOLE

BRENDA HOLLOWAY - SPELLBOUND: RARE AND UNRELEASED MOTOWN GEMS

SoulMusic Records is releasing a sumptuous 33-track 2-CD set of classic recordings by the legendary Brenda Holloway drawn from Motown's vaults and recorded between 1963 and 19066. Spellbound has been compiled and produced by longtime Motown expert Paul Nixon, responsible for the successful "Cellarful Of Motown" series, who has carefully selected the tracks on this superb compilation by one of Motown's most soulful singers. Included here are nine previously unreleased tracks along with rare cuts that have only been available digitally.  California-born Brenda Holloway became the first West Coast-based artist signed to Motown in 1963; within one year, she achieved US national success with the now-timeless classic, 'Every Little Bit Hurts'; Brenda's five further charted singles included 'When I'm Gone', 'Just Look What You've Done' and 'You've Made Me So Very Happy'. . Although Motown only issued one LP, Brenda recorded prolifically for the label, with literally dozens of tracks remaining in the vast Motown vaults until producer Nixon began including tracks on various reissues. Spellbound features two tracks cut in 1963, 23 in 1964 and eight in 1966. Notes by renowned UK Motown historian and writer Sharon Davis include 2017 quotes from Brenda along with an essay by producer Nixon.

SAM FLETCHER - SINGS

Though Sam Fletcher (1933-1984) began singing as a child in the churches of his native Memphis, Tennessee, it was only in 1959 that he made his recording debut with two singles for M-G-M s subsidiary, Metro. His big baritone voice found favour with critics and audiences and led to several more singles, first for Cub another M-G-M brand and then RCA Victor, and Warner Bros. Signing for Vee-Jay Records in 1964, he made his classic LP Sam Fletcher Sings, I Believe in You. By then, Sam and his family had moved to Los Angeles, and in 1967 he recorded his second and last album, The Look of Love The Sound of Soul, for Vault Records. An eclectic collection of standards and pop tunes arranged and conducted by Harry Betts, it was dramatic verification of Sam s versatility which included a new version of I Believe in You his signature song recorded for RCA in 1961. But in late 1967 he was arrested for heroin possession, and though he eventually cleaned up his act, his career was effectively over. His biggest fans included some of history s greatest vocalists, among them Nat King Cole, Aretha Franklin and Nancy Wilson, and he left behind a legacy of music and performing that recalls a bygone era of class and sophistication.

SOUL UNDERSTATED FEATURING MAVIS "SWAN" POOLE

Soul Understated featuring Mavis "Swan" Poole is an exciting new neo,soul and funk group that melds elements of R&B, Jazz, Funk and Hip-Hop into a unique sound. Led by vocalist extraordinaire Mavis "Swan" Poole (Lauryn Hill, Prince, HBO's Vinyl), whose distinctive vocal sound recalls Eryakah Badu and Esther Phillips, and drummer Jeremy "Bean" Clemons (who has performed with Gregory Porter, Burning Spear, Jennifer Holliday and more), Soul Understated delivers a beautifully performed organic sound with stellar musicianship. 'Songs In The Key Of Grease', an E.P. featuring six original compositions, is Soul Understated's first nationally-distributed release. The material ranges from the infectious funk of "Wibble Wobble" to the slinky Badu-esque neo-soul of "The Way I See" to the beautiful balladry of "Fantasy."

NEW MUSIC: COOL HEAT – THE BEST OF CTI RECORDS; KETTY LESTER – LOVE IS FOR EVERYONE; JAY RAYNER QUARTER - A NIGHT OF FOOD AND AGONY

COOL HEAT – THE BEST OF CTI RECORDS (VARIOUS ARTISTS)

CTI Records is one of the coolest Jazz labels ever. Robinsongs brings you perhaps the definitive round up of cool tracks to be released by CTI Records and affiliated label Kudu on a Double CD.  "Cool Heat - The Best Of CTI Records" includes all the full length album versions of the hits by the likes of Deodato 'Also Sprach Zarathustra' better known as 2001 A Space Odyssey, 'Could Heaven Ever Be Like This' by Idris Muhammad, 'What A Difference A Day Makes' by Esther Phillips and 'Jaws' by Lalo Schifrin. Plus, the much sought after George "Bad" Benson single 'Supership'. Plus, great Jazz Funk classics by Bob James' 'Westchester Lady' and Johnny Hammond's 'Breakout'. You will also find some great album cuts by the likes of Kenny Burrell, Freddie Hubbard, Joe Farrell & Stanley Turrentine. Nina Simone's 'Baltimore' the Randy Newman penned Reggae influenced protest song is also included in this fantastic package. . Check out Lonnie Smith's 'Mama Wailer' from his only CTI album of the same name, you won't be disappointed. Also, you get the added bonus of Deodato's disco infused 'Super Strut' and the haunting 'Home Is Where The Hatred Is' by Esther Phillips. This package also includes liner notes from MOJO & Record Collector journalist Charles Waring.

KETTY LESTER – LOVE IS FOR EVERYONE

Ketty Lester's 1962 version of "Love Letters", a song originally composed by Victor Young and Edward Heyman for the motion picture of the same name which starred Jennifer Jones, forever linked her to that exclusive club, "the one-hit wonder". Here Jasmine have put together a charming collection which opens of course with the album "Love Letters" which appears in its entirety along with a selection of bonus singles which include "But Not For Me", "You Can't Fool A Fool" and "This Land is Your Land" which were all minor hits for her. These lovingly remastered tracks prove that along with being a successful actress she was also a superb song stylist and hopefully this collection of 20 tracks goes someway to lift the "one hit-wonder" tag. Includes fully detailed liner notes.

THE JAY RAYNER QUARTER - A NIGHT OF FOOD AND AGONY

Jay, voted the most influential food and drink journalist in Britain by his peers, is notorious for his acerbic wit as a critic both in print and on television. He is the author of ten books, fiction and non-fiction, appears regularly on TV 8722; including on the soon-to-launch Tried and Tasted for Channel 4 8722; and presents The Kitchen Cabinet for BBC Radio 4. Alongside all this he has a career as a jazz pianist, performing with his quartet everywhere from the Bath International Festival and Pizza Express Live in Soho to the world-famous Ronnie Scott's. A Night Of Food And Agony captures the atmosphere of the quartet's live shows as Jay examines the relationship between jazz and two key themes in his life: food and drink; and growing up with mother Claire Rayner, the renowned agony aunt and sex advice columnist. Jay is accompanied on bass by Robert Rickenberg, a formidably inventive player who rose to prominence with the Sheena Davis group and who has accompanied jazz greats such as Will Gaines and Mark Murphy, as well as pop diva Kylie Minogue. On sax is the highly-regarded Dave Lewis whose lyrical breaks power the groove in his own band, 1Up, and have seen him accompany the likes of Lamont Dozier, Bryan Ferry and Eric Clapton. But what completes the show is the compelling vocal performance from the extraordinary Pat Gordon-Smith, who gets right inside every lyric. There's a special chemistry between Pat and Jay too 8722; which isn't surprising given they're married to each other. This isn't mere nepotism; it's good fortune. Pat has been singing longer than Jay has been playing, and has spent time training with the legendary jazz singer Liane Carroll.

NEW MUSIC: JOE HENDERSON – THE ELEMENTS; GARY BARTZ NTU TROOP – HARLEM BUSH MUSIC UHURU; ROSCOE MITCHELL – BELLS FOR THE SOUTH SIDE

JOE HENDERSON – THE ELEMENTS

The Elements originally released in 1973 on Milestone arrived during a time of discovery for Joe Henderson, a time to set aside the post-bop instrumentation and repertoire he was identified with and branch out into other realms. What transpired is in a league all its own. Present in the four-part improvisation that makes up the album, "Fire", "Air", "Water" and "Earth" are elements of spiritual jazz-fusion and beyond - celestial, cosmic, and trance-inducing in nature. Alice Coltrane’s contributions on harp and piano set the tone as she weaves sublime chordal textures through the layers of improvisation.  Assisting Henderson and Coltrane were a group of sympathetic explorers-- violin original Michael White, bass giant Charlie Haden, and the multifaceted percussionist Kenneth Nash. Latin American, Indian, and Native American strains enter the mix as Henderson applies the heat and mercurial invention of his more conventional work to these open-ended settings. While the music is enhanced with overdubbing in spots, the true magic of The Elements emanates from the musicians' collective genius at listening and responding to each other – a gift of extreme magnitude.  

GARY BARTZ NTU TROOP – HARLEM BUSH MUSIC UHURU

Harlem Bush Music – Uhuru remains extremely relevant. Though the album came at a time when Black Consciousness and Black Pride were coming to the forefront of American culture, current times are such that its message of struggle, love and hope transcends racial categories. That is both a great testament to the power of this music, as well as to the dawning fact in this country that we're all in this together," said All About Jazz.  Joined by the inimitable Andy Bey on vocals, Juini Booth and Ron Carter on bass, Harold White on drums, and Nat Bettis on percussion, Bartz turns in a set of politically relevant, hard-grooving, funky, searching and essential soul-jazz. The centerpiece of the album is the righteously grooving, original seven-minute version of “Celestial Blues” featuring the incredible vocals of John Coltrane’s  favorite vocalist, Andy Bey. 

ROSCOE MITCHELL – BELLS FOR THE SOUTH SIDE

A fantastic program of live recordings – all captured at the Museum Of Contemporary Art in Chicago – as part of their 50th Anniversary tribute to the AACM! Roscoe Mitchell works here in a very unusual format – with four different trios, each heard separately – then grouped together in different ways on larger recordings that feature all members in varied formation! The trios feature James Fei on reeds and electronics with William Winant on percussion and vibes; Hugh Ragin on trumpet withTyshawn Sorey on trombone, piano, and percussion; Craig Taborn on piano, organ, and electronics with Kikanju Baku on drums and percussion; and Jribu Shahid on bass and percussion with Tani Tabball on drums and percussion. Mitchell plays a range of reeds and percussion – and some of the percussion used is from the collection of various Art Ensemble Members, being exhibited by the museum. The performances are great – and not only is Mitchell still at the height of his improvisational powers, but he's also got the other musicians working in a spirit that really lives up to the tradition of the AACM!  ~ Dusty Groove

NEW MUSIC: INNERPEACE – RARE SPIRITUAL FUNK AND JAZZ GEMS: THE SUPREME SOUND OF PRODUCER BOB SHAD; TOO SLOW TO DISCO: MORE LATE 70s WEST COAST YACHT POP YOU CAN ALMOST DANCE TO: ART PEPPER / LEE KONITZ – WEST COAST SESSIONS VOLUME 3

INNERPEACE – RARE SPIRITUAL FUNK AND JAZZ GEMS: THE SUPREME SOUND OF PRODUCER BOB SHAD

That's reedman Hadley Caliman on the front cover – looking mighty righteous, and really setting the vibe for the music on the collection – a far-reaching, deeply-soulful batch of tracks from the Mainstream Records label in the early 70s! Mainstream's maybe not as well-remembered as a spiritual jazz outlet as other imprints from the time – like Impulse or Strata East – but this set more than corrects that fact, by showing off some of the hippest, most unbridled cuts on the imprint – work that's different than some of the straighter jazz or more funk-based tracks the label also issued at the time. The presentation makes us give an even greater nod to producer and label owner Bob Shad than before – and you may well do the same, after hearing gems like "In The Back In The Corner In The Dark" by Harold Land, "Cigar Eddie" by Hadley Caliman, "Inner Peace" by Buddy Terry, "Iron Jaws" by Charles Williams, "Requiem For Dusty" by Frank Foster, "Mebakush" by Pete Yellin, "Senyah" by Roy Haynes, "BC" by Dave Hubbard, "Love Song" by Sonny Red, "Libra's Longing" by Lamont Johnson, and "Infinity" by Shelly Manne.  ~ Dusty Groove

TOO SLOW TO DISCO: MORE LATE 70s WEST COAST YACHT POP YOU CAN ALMOST DANCE TO (VARIOUS ARTISTS)

Mellow fusion, jazzy soul, and lots of warm 70s pop currents – all coming together in a great third installment of this wonderful series! The collection goes way past the familiar "yachtpop" material you might expect from the title – less top 40 AOR than the kind of more obscure album cuts that folks on the scene have really been digging up in recent years – often music issued on bigger labels, but which never fully got its due at the time – even though endless studio genius went into the creation of the tracks! Titles include "I Love You" by Weldon Irvine, "Is It You" by Lee Ritenour, "Don't Let Me Fall" by Bob Welch, "Inside You" by Cornelius Bumpus, "Quand Tu Te Laisse Aller" by Dwight Druick, "I Believe In Miracles" by Mark Capanni, "Do The Bossa Nova" by Vapour Trails, "Silky" by David Gates, "Whachersign (ext version)" by Pratt & McClain, "Special Delivery" by Billy Mernit, "Where Did You Come From" by Larry Carlton, and "Cool Breeze" by Jeremy Spencer Band.  ~ Dusty Groove

ART PEPPER / LEE KONITZ – WEST COAST SESSIONS VOLUME 3

A mighty meeting of two modern alto giants – a set cut under the leadership of Lee Konitz, but which also features some great work from Art Pepper too! Both Pepper and Konitz were two of the most distinctive players to emerge in the 50s – both in the generation after Charlie Parker first set the horn on fire with his bebop creations – but both very individual, distinct players who took the music in fresh new directions. That distinctness really comes through here – as both Lee and Art blow together wonderfully, crossing lines and taking off on solos with a gentle swing that comes from the support of Michael Lang on piano, Bob Magnsusson on bass, and John Dentz on drums. Most tracks are very alto-heavy – in a great way – and the session was originally only ever issued in Japan, as part of the Atlas Records "West Coast Today" series. Titles include "Minor Blues In F", "Whims Of Chambers", "The Shadow Of Your Smile", and "This Can't Be Love". CD features two bonus alternate takes, too!  ~ Dusty Groove

Summer of '96 (Lonnee Stevens and Antman Wonder) Recalls Jazz and Classic Soul Influences of Golden Era of Hip-Hop

1996 was a watershed year for hip-hop. Considered by some to mark the end of the music's Golden Age, '96 saw the release of numerous albums that would go on to be considered landmarks in the genre: Nas' It Was Written, The Fugees' The Score, A Tribe Called Quest's Beats, Rhymes and Life, OutKast's ATLiens, and The Roots' Illadelph Halflife. Jay Z made his now classic debut with Reasonable Doubt, while 2Pac took his final bow with All Eyez on Me prior to his death that September. That summer marked the culmination of hip-hop's maturity, a period when groundbreaking artists deftly melded rap, jazz and classic soul into a singular sound that would remain influential for decades to come.

The summer of 1996 was also a turning point for singer/rapper/producer Lonnee Stevens and composer/producer Antman Wonder. Not only did the remarkable music of the time point them in the direction of their future careers, but it was the moment when both men took their first steps in the transition from avid fans to creators. Joining forces for the first time as Summer of '96, Stevens and Antman draw inspiration from the individuality and innovation of that foundational year to discover new pathways into the juncture of hip-hop, jazz and R&B on their debut album, Splendid Things Gone Awry, available July 21 via Unsociable Music/RED.

"1996 was the coming of age for music for my generation," says Stevens, citing particularly hip-hop's unparalleled flowering but also an impressive year for inventive rock music: Sublime's self-titled debut, DJ Shadow's Endtroducing..., Beck's Odelay, and countless others. "Everything sounded so new, just as we were coming of age as creative people."

Although the fusion of jazz and hip-hop reached a pinnacle in the mid-'90s, the two musics had been intertwined since hip-hop's beginnings. The always forward-looking Herbie Hancock was one of the earliest pioneers, pointing the way to the future with his 1983 smash hit "Rockit." As Antman puts it, "One begat the other. Jazz influenced hip-hop majorly, especially in the Golden Era. Hip-hop introduced me to Chick Corea, Herbie Hancock and [producer] David Axelrod through the music that was sampled when I was growing up by people like DJ Premier, Pete Rock, and Just Blaze."

Hancock's former boss, Miles Davis, was of course at the forefront as well, collaborating with producer Easy Mo Bee for his final album, Doo-Bop. Hip-hop producers sampled jazz grooves and melodies from the beginning, including Gang Starr's "Words I Manifest," which sampled Dizzy Gillespie's "Night in Tunisia," and UK-based Us3's ubiquitous 1993 hit "Cantaloop," built on the infectious hook from Hancock's "Cantaloupe Island." Central to the Summer of '96 idea are the efforts of the Native Tongues collective, a loose-knit group of hip-hop pioneers that included A Tribe Called Quest, the Jungle Brothers and De La Soul (who released their direction-changing fourth album, Stakes Is High, that year).

Flash forward to today, when those artists' innovations paved the way for a new generation of jazz/hip-hop fusion. Artists like Flying Lotus, Thundercat and Kamasi Washington are redefining the marriage of the two musics (among other influences) while leading rappers like Kendrick Lamar are finding new ways to draw upon jazz approaches.

Enter Summer of '96, who don't so much channel the music of their namesake year as they continue in its spirit of reinvention and individuality. Splendid Things Gone Awry is a rarity in the streaming age, a true album with a central mood and an experimental spirit. The duo built the album via a long-distance collaboration between California native Stevens' Atlanta digs and Antman's Philly base. The music is entirely original, using live instrumentation and no samples, with compositions created and played by Antman and restructured and adde onto by Stevens.

"Today everything is synthesized," Stevens says, "but back then everything was sampled, and it was sampled from soul and jazz records. When we got together we decided we wanted to make a record that sounds classic but using all original stuff."

The album's moodiness stems from a recent break-up that Stevens had gone through, leading him to a darker but richer sound. The album's title captures the feeling -- things have gone wrong, but those things were beautiful to begin with, and retain that sense even in their ruined state.

A harpsichord melody initiates the cinematic feel of opener "Stacey Dash," which uses the Clueless star and Fox News commentator as an icon for a certain type of woman that Stevens defines as "almost perfect until you get to know them, and then they have such bad attitudes." Typical of the duo's instinct-trusting method, the track eschews drums for a more free-floating, amorphous atmosphere.

The blissful "Mahogany Blue" is a tribute to the azure-colored guitar of Detroit singer-songwriter Mayaeni and features vocal contributions from soul singer Teedra Moses. The swirling "All That Jazz" is the first of several instrumental interludes showcasing Antman's frantic, eclectic jazz style. "When I first heard Antman, he was already heavy in his calling as a hip-hop producer, but really he was playing jazz, especially with the way he was improvising," Stevens says. "I don't know that he saw it as jazz at the time, but he could play his ass off." Further examples arrive via the '70s funk-soul vibe of "Phyllis Hyman" and the sweeping Stevie-cinema of the Songs in the Key of Life-reminiscent "Wondersong."

"Good Man," with its "you don't know what you lost" message, was one of a few tracks begun by Stevens, who laid a more structured foundation as opposed to Antman's more improvisational approach. The confessional "At All" is a pure Stevens production, while "You In My Mind" was composed and titled by Antman with the female R&B trio KING in mind. Featuring a guest verse by Detroit rapper Royce da 5'9", "Not a Rich Man" is a classic debate between commerce and integrity, while the title track, featuring a sax solo by Bill Kahler, closes the album with a last-call jazz club feel.

The hallucinatory "Black Zombies" is a lament for the increasing prevalence of "lean," the sweet but codeine-heavy cough syrup-based drink. "The last generation was more drug dealers," Antman says, "and this generation is more drug addicts. We're not so much throwing shots or judging; it's just an observation. We all have our vices, but that's becoming part of our culture now and that's dangerous." Case in point: the three Ws of "Whiskey, Weed, Women," a particularly self-explanatory track.

Perhaps the simplest way to explain this record is this: If Phyllis Hyman and the great Thelonious Monk had a love child, and that child grew up with Kendrick Lamar as the babysitter, you'd probably get this album.

About Antman Wonder

Philadelphia-based composer/producer Antman Wonder built a reputation on classic-sounding but sample-free productions, drawing on the influence of eclectic innovators like Quincy Jones, Stevie Wonder and Isaac Hayes. He's worked with one of his major influences, Gang Starr co-founder DJ Premier, as well as well-known artists including Tyga, Pusha T, Rick Ross, 2 Chainz, Action Bronson and Joey Bada$$. Antman also recently contributed to Meek Mill's new single "Slay," featuring A$AP Ferg.

About Lonnee Stevens

Lonnee Stevens is a Grammy® Award-winner and six-time nominee who has worked with Alicia Keys, Trombone Shorty, Lauryn Hill, Talib Kweli, India.Arie and his godfather, Motown legend Smokey Robinson (some of his credits come under another alias). Stevens (born Alonzo Stevenson) is the son of William "Mickey" Stevenson, songwriter/producer and original head of A&R for Motown, and singer Melanie Burke, and is the grandson of R&B legend Solomon Burke.

TOP JAZZ MUSICIANS RECORD MUSIC BY PRINCE’S FATHER JOHN L. NELSON

Prince is universally regarded as one of the most prolific and creative musicians in the world. While fans know that Prince was inspired in part by his father, the late jazz musician and composer John L. Nelson, few have heard the elder Nelson’s music—until now. In honor of his 101st birthday, June 29th, Sharon Nelson, Prince’s oldest sister, is releasing a single of his original instrumental composition “Heart of Mine,” recorded by an all-star jazz collective dubbed The John L. Nelson Project. The classic jazz tune, which features a warm horn melody over a bossa nova groove, is available on all digital platforms, including iTunes and Amazon. The track is featured on the upcoming full-length release of Nelson compositions titled Don't Play With Love, due October 27, 2017.

Surprisingly, this marks the first studio recording of any music written solely by John L. Nelson, who died in August 2001 at age 85. Conceived and produced by his oldest daughter, Sharon Nelson, and recorded in January 2017, the project also marks the first studio recordings made at the world-renowned Paisley Park complex in Chanhassen, Minn., since the untimely passing of Prince on April 21, 2016.

During his lifetime, Prince acknowledged his father’s influence on his life as a musician, and admiration for his musical vision. “Our personalities are a lot alike, but his music is like nothing I’ve ever heard before,” Prince told Ebony in 1986. “It’s more complex. A lot of beautiful melodies are hidden beneath the complexity.” Prince also shared credit with his father for several songs, including tracks from Purple Rain, Around the World in a Day, Parade, and the Batman soundtrack.

Sharon Nelson has wanted her father’s music recorded ever since she found a stash of his original handwritten charts back in 1978. “Our dad was a loving, caring, hardworking father and a prolific jazz musician most notably known as the father of the musical genius, our brother Prince,” says Sharon. “Our dad wrote and composed many songs, but they were never recorded until now. He was Prince’s musical inspiration, and this project is very special because it was recorded in Paisley Park.”

The recording features top-notch jazz veterans and notable contemporary players, whose stellar execution will inspire renewed appreciation for the bebop genre and shed new light on the creative originality of Nelson, who performed in the ‘40s and ‘50s under the stage name of Prince Rogers. The John L. Nelson Project band features veteran drummer Louis Hayes, pianist Rick Germanson, bassist Dezron Douglas, saxophonist Vincent Herring, and trumpeter Jeremy Pelt. In a promo video for the new project, pianist Germanson notes that Nelson, who wrote and performed primarily on piano, created a sound of his own: “The music is very unique, it kind of moves in unexpected directions. I’ve never played anything quite like it. This music is the truth, it’s honest, and it’s real.”

L. Londell McMillan, the prominent entertainment attorney represented Prince as his manager for more than a decade, notes, “For years, I’ve known and had a profound respect for Sharon Nelson. Her work producing the John L. Nelson Project is extraordinary and now part of music history. Prince was inspired by his father’s musical talents and his eldest sister has produced some amazing musicians to now release a great body of work written by Mr. Nelson and recorded at Paisley Park. This is a blessing!”

Co-executive producer Charles E. Spicer Jr. calls the project “historic” and “monumental,” and adds that he was proud to contribute to the recording. “The John L. Nelson Project defines the prolific talents of a musician who never got his big break, and showcases the songwriting talents that were always a major influence and a catalyst to his son Prince’s musical genius,” says Spicer. “Now, Sharon L. Nelson, John’s oldest daughter, has orchestrated and produced her father’s music for all to hear, by way of the spiritual guidance of her dad and as well as her brother Prince. This jazz album is the epitome of African-American classical music, and I believe it will spark a new resurgence and appreciation for the genre worldwide.”

“Heart of Mine” is the first taste of the unsung talents of John L. Rogers, who made a distinctive contribution to America’s only indigenous musical art form, jazz—a form that still sounds fresh and inventive thanks to skilled players. Rogers’ music also creates a bridge to understanding the musical wellspring that informed the legacy of Prince.

About The John L. Nelson Project

The project was recorded at Paisley Park in January of 2017and was conceived and produced by Sharon Nelson, the eldest sibling of Prince. The single is available on all digital outlets and the album will be released worldwide on October 27, 2017. The musicians who came together to record the music of John L. Nelson represent a who’s who of jazz notables. These include:

Louis Hayes, drums: The original drummer for the late saxophonist Cannonball Adderley, Hayes currently leads the Cannonball Legacy Band. The veteran musician has played sessions with Oscar Peterson, Grant Green, and Curtis Fuller; led or co-led groups with such jazz notables as Freddie Hubbard, Kenny Barron, Junior Cooke, Woody Shaw and Dexter Gordon; and played and recorded with such jazz greats as John Coltrane, Thelonious Monk, J.J. Johnson, Sonny Rollins, Jackie McLean, Wes Montgomery, Joe Henderson, Cedar Walton, and George Benson among many others. He has many recordings as a leader.

Rick Germanson, piano: Also a member of the Cannonball Legacy Band, Germanson has performed with Elvin Jones’s Jazz Machine, Regina Carter, Tom Harrell, Slide Hampton, Frank Morgan, Eric Alexander, Frank Lacy, Marlena Shaw, Donald Harrison, Brian Lynch, Jim Rotondi, Charles McPherson, Charles Davis, Craig Handy, Cecil Payne, and the George Gee Orchestra. He has also released three solo albums.

Dezron Douglas, bass: One of a new generation of talented young sidemen and session players in jazz, Douglas studied at the Jackie McLean Institute of African American Music at the Hartt School of Music, and in college co-founded the New Jazz Workshop of Hartford (Conn.). He is a member of Louis Hayes Jazz Communicators, Ravi Coltrane Quartet, Papo Vazquez Mighty Pirates, and The Cyrus Chestnut Trio, among other associations, and has recorded four albums as a leader.

Vincent Herring, soprano saxophone/flute: Since first touring with Lionel Hampton’s big band, Herring has worked with Nat Adderley, Art Blakey & the Jazz Messengers, the Horace Silver Quintet, Jack DeJohnette’s Special Edition, Larry Coryell, Cedar Walton, Freddie Hubbard, Dizzy Gillespie, the Mingus Big Band, Nancy Wilson, the Roy Hargrove Big Band, Arthur Taylor, Billy Taylor, Carla Bley, and the Phil Woods Sax Machine. He has appeared as a guest soloist with Wynton Marsalis at Lincoln Center as well as with John Faddis and The Carnegie Hall Big Band, and also appears with Louis Hayes in the Cannonball Legacy Band.

Jeremy Pelt, trumpet: Respected traditional and contemporary player Pelt has worked with Bobby “Blue” Bland, Ravi Coltrane, Frank Foster, Winard Harper, Jimmy Heath, Vincent Herring, John Hicks, Charli Persip, Ralph Peterson, Lonnie Plaxico, Bobby Short, Cedar Walton, Frank Wess, Nancy Wilson and The Skatalites, to name a few. Pelt has numerous albums as a leader.

Steve Winwood to Release 'Greatest Hits Live' - His First Album in Nearly a Decade

Singer, songwriter, legendary vocalist, guitarist, keyboardist, mandolin player, producer, Grammy winner and BMI Icon Steve Winwood will release 'Winwood: Greatest Hits Live,' his first-ever live album as a solo artist on Friday, September 1 via Wincraft Records with distribution through Thirty Tigers. It will be available as a 2CD/4LP collection; the vinyl set includes one digital download card.

Listen to "Can't Find My Way Home" here: https://youtu.be/FXoEnqldH1E

The material on 'Winwood: Greatest Hits Live' is a collection of songs sourced from Winwood's personal archives of live performances. With a 23-song tracklist handpicked by Winwood, featuring his best loved songs, 'Greatest Hits Live' offers fans a definitive musical portrait of his five-decade career.

"I'm excited about the release because I have recorded every show for many years and so it evoked many memories of the performances and reactions from the fans over the years who have supported me," says Winwood. "I suppose it is sort of a tribute to the band members and crew I've been fortunate to have with me on the road. The songs were chosen for being the ones most recognized throughout my career which have left an impression and so I hope the record will be a souvenir that brings to mind happy memories of a good time experienced at one of my shows."

The expanded 2CD/4LP gatefold package features rare, previously unreleased material touching on all aspects of Winwood's extensive catalog, including contemporary arrangements of the music he created with the Spencer Davis Group, Traffic, Blind Faith, and on his classic solo recordings. The collection channels R&B, Jazz, Funk, Folk, Classic Rock, Pop, and Afro-Caribbean & Brazilian rhythms, highlighting Winwood's unique ability to fuse multiple genres into a singular, cohesive musical expression. The record not only demonstrates Steve's mastery of the Hammond B3 Organ, but also showcases his remarkable guitar skills.

Featured songs include "Gimme Some Lovin'", "Back In The High Life Again", "Can't Find My Way Home", "Arc Of A Diver", "Higher Love", "Roll With It", "While You See A Chance", "Dear Mr. Fantasy", and "The Low Spark Of High Heeled Boys", among many others.

For more than five decades and over 50 million records sold since he burst into prominence at the age of 15 with the Spencer Davis Group, Steve Winwood has remained a primary figure in Rock 'n' Roll, a respected innovator who has helped to create some of the genre's most celebrated achievements. His skills as a composer, vocalist, and multi-instrumentalist have developed an impressive catalog of popular music.

Winwood, named one of the 'Greatest Singers Of All Time' by Rolling Stone Magazine, is a recipient of the Ivor Novello Outstanding Song Collection, the BMI Icon Award, the Musicians Union Classic Rock Award, the Nashville Symphony Harmony Award and has been nominated for 11 Grammys, winning two. Steve has received Honorary Doctorate degrees in Music from Berklee College of Music, Aston University in Birmingham, England; and from The University of Gloucestershire. In 2004, Traffic was inducted into the Rock and Roll Hall of Fame, and the following year, he was honored for his "enduring influence on generations of music makers" by BMI. In 2002, he had the distinct honor of performing at The Golden Jubilee of Elizabeth II

at Buckingham Palace, a concert marking her 50 years as queen; he also performed for President Obama at the 2013 Kennedy Center Honors in Washington, D.C. On June 5th 2014, he was inducted into the Walk of Fame in Nashville, TN.

Steve Winwood forges ahead undaunted, continuing to create and perform new and exciting material. He remains one of the most important and influential artists in all of popular music.

  

'Greatest Hits Live' - full tracklist:

CD1

1. I'm A Man

2. Them Changes

3. Fly

4. Can't Find My Way Home

5. Had To Cry Today

6. Low Spark of High Heeled Boys

7. Empty Pages

8. Back In The High Life Again

9. Higher Love

10. Dear Mr Fantasy

11. Gimme Some Lovin'

CD2

1. Rainmaker

2. Pearly Queen

3. Glad

4. Why Can't We Live Together

5. 40,000 Headmen

6. Walking In The Wind

7. Medicated Goo

8. John Barleycorn

9. While You See A Chance

10 Arc Of A Diver

11 Freedom Overspill

12 Roll With It

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Website: www.SteveWinwood.com