NEW MUSIC: DANNY GRISSETT - REMEMBRANCE; MELANIE DE BIASIO - LILLIES; ROB LUFT -RISER

DANNY GRISSETT - REMEMBRANCE

Danny Grissett is definitely one of today's most exciting and respected pianists. For his first recording as a leader for Savant, Grissett and company offer a varied and interesting set-list which mixes jazz standards and some of the pianist's own compositions. The go-to keyboard man for the likes of Tom Harrell, Jeremy Pelt, Wayne Escoffey and others, Grissett also finds time to lead his own groups and is a composer of considerable merit. A rare artist who grips and holds attention, Grissett handles the classics of the American songbook with an aplomb equal to the way he deals with the rather complex structures of his own intricate compositions. A gifted improviser with splendid technique, the pianist can also offer warmth and affection in melodic lines, the balance of fine taste, pungent swing and a jubilant approach inevitably generating audience cheer. Personnel: Danny Grissett (piano, Fender Rhodes), Dayna Stephens (saxophones), Vicente Archer (bass), Bill Stewart (drums)

MELANIE DE BIASIO - LILLIES 

Melanie De Biasio marks her return with third album, Lilies - from the unsettled glide of Your Freedom Is The End Of Me, De Biasio mining a deep blues over spectral, knowing piano, to the restless rumble of Gold Junkies, which relocates the infernal bustle of Nina Simone's Sinnerman to the 21st Century, to the bereft, bewitched Brother, and the haunted, after-midnight spook of And My Heart Goes On - you'll be struck by how alive, how teeming with ideas and energy this music is. Classically trained and revered in her native Belgium, De Biasio has uncovered fans in the shape of Gilles Peterson - who heralded De Biasio as one of the most exciting artists in the jazz world and Radiohead's Phillip Selway with the release of her second album, 2014's No Deal.

ROB LUFT - RISER

The wunderkind, award-winning London based guitarist Rob Luft delivers one of the best debut records in many years. Riser is the new album from London born award winning guitarist Rob Luft. A musician of incredible talent, depth and maturity, Rob Luft is set to become a name to remember. At only 23 years of age, his proficiency as a guitarist and composer embodies a level musicianship and vision well beyond his years. A winner of the prestigious Kenny Wheeler Music Prize as well as placing second in The 2016 Montreux Jazz Guitar Competition, Rob's already garnering praise from across Europe. The UK's Jazzwise Magazine have already highlighted his "obvious star quality" and Riser is an album that stands up to scrutiny as one of the finest debut records in many years in the burgeoningly creative current UK Jazz scene.

Dave Bennett Reflects on Loss, Heartbreak and His Return to Faith and Hope on Blood Moon - Available October 20

A "blood moon" is a natural phenomenon that evokes a sense of foreboding yet captivating wonderment. However, the moon eventually returns to its natural state, shedding its reddish hues back to normalcy. Clarinetist Dave Bennett has not returned to normalcy and neither has his music. Blood Moon, Bennett's sophomore release for Mack Avenue Records, is a dark and reflective collection that deals with loss, heartbreak, and ultimately a return to faith and hope.

"During the period of establishing what this new album's direction was going to be--pop? gospel?--I spoke with Mack Avenue's president who said, 'Why don't you do your own stuff?' That gave me the confidence to finally sit down and create my own songs for this record," says Bennett. Blood Moon finds Bennett bravely exploring this new terrain of original music, as he draws on influences from Phil Collins, Peter Gabriel and Genesis. "I tend to feel emotions somewhat magnified...whether good or bad," he says. "I'm very thankful I was given this chance to create something of my own, to share my own stories. I've always admired how Phil Collins and Peter Gabriel could write songs that people could relate to on a deeply emotional level. Even though I've written instrumental music, as opposed to lyrical songs, I hope and pray the listener might find solace in the music we created."

To co-write five original songs, Bennett teamed up with Toronto-based composer, arranger and bassist Shelly Berger. The two met in 2010 through a mutual friend and instantly discovered their common sensibilities. "We both have a great love for all styles of music, especially pop," Bennett says. "We wanted to come up with something that hasn't been done before. Something original. It was really a dream come true working with him."

Berger provided the arrangements for Don't Be That Way, Bennett's 2013 Mack Avenue debut. For Blood Moon, they embarked on a much closer collaboration. The songs were created through an intensive period of experimentation with Bennett on the clarinet, Berger at the keyboard, and a recording machine. The end result was over 15 hours of spontaneous invention. "Writing your own music can be kind of nerve-wracking," Bennett admits. "When you play standards or songs that are already hits, you know those are good songs. That's half the battle. When you're trying to find your own thing, it can be a little scary."

The nerves don't show anywhere on the album, which was recorded in Toronto with a band assembled for the occasion by Berger. Bennett made the drive with his longtime drummer,

Pete Siers, but met the rest of the ensemble--pianist Dave Restivo, guitarist Reg Schwager, bassist Jim Vivian and percussionist Davide DiRenzo--for the first time on the day of the session. This group of musicians gelled quickly, and the final product sounds as if it were made by a band with a long history and deeply-attuned chemistry.

The opening track, "Blood Moon," received its name while Bennett was reading Scripture. As the rhythm section sets a nocturnal mood, Bennett plays a shadowy melody that showcases his dark and warm clarinet sound. This is followed by the wistful "A Long Goodbye," a melancholy ballad that looks back on loved ones lost and relationships ended, but not necessarily resolved. "There were several events over the last few years that led to the overall feeling on this album. When I reflect on those experiences, I realize it is easier to write from a dark place rather than a happy place. Emotions seem to come pouring out when I am in that frame of mind," states Bennett.

"Falling Sky," also a Scripture-based title, began as a swinging blues, but evolved into something more mysterious. This track recalls the influence of the band Genesis on Bennett's compositions. A complete change of pace, "13 Fingers" harkens back to Benny Goodman's blazing-fast runs, and shines a spotlight on Bennett's jaw-dropping skill on a swinging barnburner.

The atmospheric "Heavy Heart" completes the album. "This is the most personal song on the album," says Bennett. "I think we all go through our valleys, but we ultimately journey to the other side of the mountain and find our faith once again."

Bennett supplements his own pieces with a half-dozen road-tested covers from his regular repertoire. "Hallelujah," the intensely beautiful piece written by the late Leonard Cohen, fits perfectly on the clarinet. Bennett skillfully captures the loneliness of the open road on Jimmy Webb's terse love song "Wichita Lineman." Spirits lighten with a buoyant "(Back Home Again in) Indiana," which serves as a palate cleanser after some of the darker songs. The classic "Down in Honky Tonk Town" provides some toe-tapping New Orleans funk, while The Beatles' "In My Life" is poignant and reflective. The album's most unexpected moment comes in the form of Ennio Morricone's theme to Sergio Leone's classic The Good, the Bad and the Ugly. Bennett steps in for Clint Eastwood as a clarinet-wielding gunslinger.

"I have performed music written by other people for most of my career," Bennett says. "After 20 years of playing professionally, I am finally walking down my own path. A lot of songs on the album come from personal stories that may be a little dark or moody. Naming it Blood Moon makes a statement that this is completely different from anything I've done before. It has been the most fulfilling experience of my life, thus far."

Finding this new path and direction, Bennett pushes the boundaries of what he can personally achieve. He transitions as effortlessly through musical ideas and thoughts as the moon transitions through its natural phenomena. Bennett is finding his own unique voice that will only develop further.

A multi-instrument phenomenon, Bennett is a clarinet virtuoso who also plays electric guitar, piano, drums and sings. Entirely self-taught, he began playing along with Benny Goodman records at age 10, and by 12 he was invited by legendary trumpeter Doc Cheatham to the bandstand of New York's famous Sweet Basil jazz club. Leading his tribute to Benny Goodman, Bennett has been a featured soloist at Carnegie Hall with The New York Pops and has played the program with 50 other US and Canadian orchestras. An annual fixture at a dozen American music festivals, his "Rockin' the '50s" show always brings down the house, while his "Swing to Rock" Symphony Pops program premiered in 2016 with The Kingston Symphony Orchestra. Blood Moon is his follow up to the 2013 Mack Avenue release, Don't Be That Way.

Dave Bennett · Blood Moon

Mack Avenue Records · Release Date: October 20, 2017

www.DaveBennett.com

Saxophonist Johnny Butler Releases Debut Album HyperViolet

HyperViolet is a space. It is a destination. HyperViolet is the hollowness behind aching, arching light glancing off half-hidden spires and metallic mountaintops. In HyperViolet, Brooklyn-based saxophonist and electronicist Johnny Butler has found his perfect medium, his perfect space within the sound of his own life. Combining pop sensibilities with avant-garde yearnings, Butler has created a world within a world, and it is a glorious place within which to get lost.

"It is its own little eco-system, a forest of its own, growing with its own organic rules," explains Butler. "I hate when music is in its box and that's it. I hate conservative creative behavior. The album has an electronic angle but I want it to sound real too though. I want real people playing organic music."

The result is a forty-four minute, hard-hitting tour-de-force that explores the depths of depression, the ravages of creativity, the brilliance of overexertion, and the final serenity of embracing closure. Whirling through myriad musical environments, Butler and his band (bassist Michael Feinberg, guitarist Jeff Miles, drummer Bram Kincheloe, alto saxophonist JJ Byars, and keyboardist Dov Manski -- along with special guests including Kassa Overall, Raycee Jones, Tecla, Sister Sparrow, Todd Reynolds, and Jackson Kincheloe, and mastering from Daddy Kev) paint in strokes that cut deep, leaving the listener hanging over a precipice of musical motion, waiting for the cliff edge to crumble.

That mastery of time and timbre is no accident for the Seattle-born Butler, who as a young man found himself drawn to the tension and passion of seemingly unconnected genres of music. "Even though I grew up in the jazz world, I used to judge the quality of any band based on how many people were moshing," recollects Butler of those wild, early days. "If some band was playing and no one was moshing, I would just walk out. Maybe I'm in the wrong community, now. But at the right kind of gig I still get the occasional guy going buck wild." That wildness lies at the heart of everything Butler does. And now, after years giving himself to other people's projects -- including being a founding member of the Brooklyn-based soul rock band Sister Sparrow & the Dirty Birds, plus accruing writing and arranging credits for such artists as Beyoncé -- Butler is ready to take his biggest step yet in bringing his unique, bridge-like ideas and songs into the world.

  

"I have this crazy creative energy that if it is not getting used, it sort of turns inward and becomes a self-destructive feeling. I was channeling all of this emotional energy into all these songs and creating something out of it rather than having it turned inward. I have to be doing this," Butler says with a smile. "After committing myself to this music, to my own vision, I had this crazy writing period where I was writing a ton of music. I wrote, like, five hundred songs. Things for myself, chamber pieces, pieces for other people, beats, remixes..."

Butler was on a hot streak and began enlisting as many friends as he could to play and collaborate on his overflow of ideas, which culminated in HyperViolet being recorded in stages, with each musician adding their own special touch to Butler's initial vision. "It's sort of like each person came in and spilled their guts. Everyone was so honest and vulnerable. It made the record come to life in a way I'd never imagined."

"Crossing the River" and "Jump" both feature rapper Kassa Overall. The former uses immense space to support Overall's syrupy flow. Incidental chatter and Todd Reynolds' ethereal violin push and pull the listener through the former's hazy reality while the latter digs even deeper into the hip-hop realm. "I think Kassa is exploring a lot of ideas that have to do with staying and going. Don't stay or don't leave. It's all about trying to control the situation," says Butler. "He thought he knew what he was writing but there is so much more depth that I don't think he initially saw what had formed. You can hear the process very clearly. You can hear Kassa drinking. I wanted that to be part of it. That kind of stuff is my favorite: the seams of the music where you see the canvas a little bit like Monet in his old age where you can see the brushstrokes."

If there's a tune on this album that can fill the dance floor it is "What It Deserves." Butler uses beats and the charms of vocalist Tecla to provide a forum to both riff and cut loose over a rising storm of percussion. "Crake's Dream" is a pensive build-up of beeping keyboards behind the intricate twists and turns of vocalist Bridget Davis' tightly harmonized lead. The title is derived from Margaret Atwood's dystopian novel Oryx and Crake. "Flipper Wants Out" was one of Butler's first tunes for the record and features his former band-mates from Sister Sparrow. Jackson Kinechole's wheezing harmonica appears to emanate from a Martian juke joint before vocalist Arleigh Kinechole snarls a firm request for a little personal space. Butler's horns swirl with downtown attitude, chomping at the air in tight formation.

HyperViolet is an eclectic debut riddled with creative insights and original horn work with Butler hanging in the back as often as he is in the spotlight. Each pluck of a string and tap of a pad is given its own room to breathe in a space that can be brimming with ideas. Butler knows that the all encompassing vibe only makes him stronger so he is happy to share, soloing when it feels right and laying back with an embracing pillow of thick harmonies and unexpected beats for friends and band-mates.

With his roots in the Pacific Northwest, his feet firmly planted in Brooklyn, his mind turned towards strangely swirling lands, and his saxophone unsheathed and ready to slay, Johnny Butler has -- with the release of HyperViolet -- announced himself as a true force in this musical landscape.

RED PIANO RECORDS TO RELEASE HENRIQUE EISENMANN THE FREE POETICS OF HENRIQUE EISENMANN

The Free Poetics of Henrique Eisenmann introduces the music of Brazilian pianist Henrique Eisenmann, a groundbreaking voice in the today's jazz community. Drawing inspiration from different folk world rhythms, chants, voices, poems and animal sounds, Henrique creates a unique musical universe, modern, thought-provoking, but at the same time lyrical and playful. The idea of using the piano trio instrumentation with percussion instead of drums adds a new layer of subtlety and complexity to the sound, and at the same time suggests sounds and images from several traditional musics from around the world.

Henrique's virtuosic piano playing is completely unconventional, featuring an impressive array of creative techniques, gestures and independence; hands juxtaposing multiple different rhythms, playing different melodies simultaneously, all with an extreme freedom and mobility over time, but still committed to the groove.

  

The opening track Introduction - Niños Peruanos immediately throws the listener into a completely new world, by featuring a recording of 6-year-old Peruvian boy reciting a poem in Spanish, underneath which Henrique freely improvises and suddenly starts a joyful musical conversation with the kid. Words gain a complete new musical sense, and slowly a wonderful musical fabric starts to unveil, leading to a celebratory explosion over Hermeto Pascoal's Zurich.

Sarabande No. 2 offers a strong contrast, introducing a lyrical and classical melody with intricate chromatic harmonies, elegantly accompanied by Jorge Roeder, the Peruvian born Grammy-nominated bassist. The piece arrives to its climax, in which the polished Sarabande is transformed into a rhythmic outburst led by percussionist Rogério Boccato, who is able to emulate, alone, the sound and energy of fifty percussionists. Born in Brazil, Boccato has performed with Antonio Carlos Jobim, Milton Nascimento and jazz legends such as Kenny Garrett and Joe Zawinul, operating a daring fusion of traditional percussion with improvisation and experimental sounds.

Jeneupti is perhaps the most mysterious and fascinating piece on the album, featuring a perplexing field recording of a Ghanaian girl hoarsely singing a hypnotic melody. Henrique is in the background playing a series of repetitive chords extracted from Charles Ives' song Serenity (1919), and slowly starts to seamlessly harmonize the voice revealing an entirely new hidden character in the melody hitherto unnoticed by the listener.

"I'm always searching for creative alternatives for re-composing music, to not get stuck in scales and traditional harmonies, and human speech is a great source of inspiration because of repeated notes, unexpected leaps, and sometimes sequence of notes that you would never imagine otherwise; so transcribing to voice is a great exercise to expand your musical horizons." (Eisenmann). 

According to Henrique, Afro-Latidos was inspired by mbira music from Zimbabwe, emulating the peculiar sounds of the thumb-pianos. The piece unfolds into an energetic groove, featuring a magnetizing solo by saxophonist Gustavo D'Amico, that recalls the sonority of Roscoe Mitchell's or John Coltrane's collaboration with North African musicians.

Anthropophagy is the album's ballad. The weird title - anthropophagy means cannibalism - is a reference to the Modernist movement in Brazil, which used the metaphor of foreign culture being devoured and digested by natives, becoming a new national identity. The piece is actually a recomposition of Charlie Parker's "Anthropology", played six times slower than the original tempo. The result is a completely new lyrical piece, completely unrecognizable. Perhaps the few bebop phrases at the very end may hint some of Parker's original melody to the attentive listener.

Dans un Fracas de Plumes (birds) was inspired by the poetry of Israeli poet Hadassa Tal, who has collaborated with Henrique in his 2013 solo record "Notes for Pina Bausch". The central idea is to recreate the chaotic interaction between groups of birds, in which there's no real pulse, harmony, and order, but somehow it creates a sort of meta-organization, with humor, spontaneity and abrupt musical gestures. The highly crafted unison phrases played by Eisenmann and saxophonist Gustavo D'Amico demonstrate a fantastic work on precision and rhythmic freedom.

Zumbi describes the life of Zumbi dos Palmares, an important pioneer in the resistance against slavery in Brazil. Henrique introduces by the piece by imitating the sounds of a Brazilian berimbau (one-stringed percussion instrument) on the piano, and slowly developing it into an enigmatic melody, recalling ancient African Brazilian grooves.

Epilogue - Pífanos is a short and perfect closing piece, a synthesis of the idiosyncratic musical worlds created by Henrique. While playing and whistling a simple folk melody on the piano, Henrique simultaneously introduces a utterly wild improvisation on the left-hand, slowly taking over and transforming the piece into a turbulent musical blast; a demonstration of incredible virtuosity and independence. In the background, one can hear the distant sounds of the old Brazilian "pífano" bands, traditional marching bands playing small bamboo flutes.

As a nostalgic yet transformed musical exploration, "The Free Poetics of Henrique Eisenmann" features the virtuosity and fertile creativity of the young pianist, able to bring together the complexity of improvisation and a wide array of musical genres, sculpting a voice of artistic liberty that celebrates imagination, affection and the joy of making music together.

"Poetics is the raw essence behind a piece of art; the purpose, the fresh energy that allows art to free itself and fly opening new paths; a praise of freedom." (Henrique Eisenmann)

Born in São Paulo, Brazil, Henrique Eisenmann has always been intrigued with the idea of translating different musical sonorities to the piano. Henrique focuses on unique collaborations with artists from all different fields: dancers, poets, and actors. Among his latest releases, the 2015 solo album "Notes for Pina Bausch" (inspired by the poetry of Hadassa Tal) has drawn large recognition from the dance community, being used in several dance and theater spectacles around the world. Henrique has performed and recorded with dozens of outstanding musicians such as Gunther Schuller, Luciana Souza, Bob Moses, Luis Bonilla, Matti Caspi and Tom Zé. He holds a Doctorate of Musical Arts from the New England Conservatory in Boston.

 

Pianist Richard X Bennett Connects Mumbai & New York City With 2 New Releases

RXB What Is Now Since moving to New York from his native Toronto in the 1990s, pianist and composer Richard X Bennett has thrived as a performer in a broad variety of stylistic contexts. Splitting his time between New York and Mumbai, he released a series of acclaimed albums on several Indian imprints, with his last two on Times Music, India's largest label.

Until now, however, Bennett had yet to put an album out on an American label. On October 6, a dual release by Ropeadope Records will mark the pianist's first American recordings -- the trio date What Is Now and the Indo-jazz quintet session Experiments With Truth. Bennett displays his loose, percussive, and conversational instrumental style on the trio album. The raga-infused music on the quintet album is something else again, as stylistically remote from his trio opus as the Big Apple is from Bollywood.

RXB Experiments With Truth Bennett is joined on both CDs by bassist Adam Armstrong and drummer Alex Wyatt, with baritone saxophonist Lisa Parrott and tenor and soprano saxophonist Matt Parker augmenting the trio on the quintet album. What Is Now presents Bennett as a bold instrumentalist and as a composer of themes that beg for lyrics. The album's mood, energy, and tone range from the tender opener "Vital Grace" to the playful "Go Against the Tide," from the sanctified sway of "Sefrou Soul" to the cinematic scope of "Bittersweet Success." One also gets a taste of Bennett's sense of humor on a distinctly original doo-wop arrangement of "Over the Rainbow."

Bennett describes the quintet's sound on Experiments With Truth as "Mingus meets raga in the 21st Century." Music he originally conceived and performed with North Indian classical musicians is arranged and performed in a jazz context. "As far as I can tell it's the first time it's been done," Bennett says. "I don't claim to be a raga musician, because first off, the piano isn't a raga instrument. I'd say it's raga-based. I like the analogy they use on cooking shows, 'This is my take on a dosa.' As a jazz musician, this is my take on raga," the vast vocabulary of melodic structures, or modes, upon which classical Indian music is based.

"I was always somewhat of a minimalistic player," Bennett adds. "The blues is also like a specific raga, and if you play it academically it won't sound right. You can't just run the scales. With Indian music, everybody else was doing fusions based on complicated rhythmic figures. I'm much more interested in the melodies."

Experiments With Truth opens with "The Fabulist," a long, persuasively surging piece based on a particularly ancient raga (raga malkauns). "Portrait in Sepia" feels like an Ellingtonian tone poem by way of Calcutta, opening with an ominously swaying cadence designed for Parrott's brawny horn. The album's centerpiece is the two-movement "Durga Suite," which evokes dual but very diverse aspects of the warrior goddess Durga (also known as Devi and Shakti). The title track, which borrows its name from Gandhi's autobiography The Story of My Experiments With Truth, is a stimulating and increasingly wild piece inspired by the early morning raga ramkali.

Richard X Bennett While growing up in Toronto, Richard X Bennett honed his own approach to the piano. His highly personal sound flowed from limited contact with bebop and early exposure to traditional New Orleans jazz and avant-garde combos like the Art Ensemble of Chicago and World Saxophone Quartet. The first jazz he ever saw live was South African pianist Abdullah Ibrahim "and I walked out of the concert being able to play five of his songs," Bennett recalls. "I've always loved that inside/out approach, Jaki Byard and Don Pullen. I don't play bop but I do just about every other jazz style."

He introduced his Indo-jazz concept on the 2009 solo album Ragas on Piano (Dreams Entertainment), and expanded the instrumentation with the late bassist Gaku Takanashi and tabla master Naren Budhkar on 2011's Raga and Blues (Mystica Music). Picked up by Times Music, India's biggest label, he released 2013's critically hailed New York City Swara, with Takanashi, Budhkar, Carnatic violinist Arun Ramamurthy, and drummer Michael Wimberly, followed by the 2015 duo album Mumbai Masala with Hindustani vocalist Dhanashree Pandit Rai. Today Bennett also works with Honk & Tonk, a "N.O.L.A. meets noir" duo with saxophonist Michael Blake, and composes for modern dance, most recently a piece for the Alvin Ailey Company performed at the Essence Festival in New Orleans.

Bennett will celebrate the release of What Is Now and Experiments With Truth in the company of his trio and quintet, at Rockwood Music Hall in New York City on Wednesday, October 11.  

NEW RELEASES: "5 ORIGINAL ALBUM" BOX SETS FROM GEORGE BENSON, THE CRUSADERS, CHUCK MANGIONE

GEORGE BENSON – 5 ORIGINAL ALBUMS (THAT’S RIGHT / STANDING TOGETHER / ABSOLUTE BENSON / IRREPLACEABLE / LIVE)

George Benson may have hit his greatest fame in the 70s, but the guitarist kept on making wonderful work for many many years – as you'll hear in this excellent collection of albums from the end of the 90s! The albums here show that, even during a time when so many younger musicians were working under inspiration from his efforts, the man himself was still always a cut above – playing in a soulful style, but never too smooth – and always able to bring in a chromatic solo that reminded us of his tremendous skills. At the time of these records, even though we were slavish devotees of Benson's classics, we still really found ourselves impressed – and all these many years later, we're even more so – and expect you will be to. The set features five full albums, each in small LP-styled sleeves – the studio sets That's Right, Standing Together, Absolute Benson, and Irreplaceable – and a great Live best of set from 2005.  ~ Dusty Groove

THE CRUSADERS – 5 ORIGINAL ALBUMS (CHAIN REACTION / THOSE SOUTHERN NIGHTS / FREE AS THE WIND / IMAGES / STREET LIFE)

A document of an incredible shift in style for the Crusaders – and one that helped them soar even higher in the jazz funk stratosphere! By the time of these albums, the group had changed significantly from their youthful days as the Jazz Crusaders – mostly a trio, with Joe Sample on keyboards, Wilton Felder on saxes, and Stix Hooper on drums – but often augmented by some of the best studio help they could find, and working at a level that was still razor-sharp, and incredibly soulful! So many other artists mixed jazz and soul together in the 70s, but a rare few could do it this right – and still hold onto all the bite that the artists had in their earlier days. Production is tight, but never too slick – no 80s smooth jazz modes here – and there's a sense of groove balanced with a sense of soloing that's really wonderful! All five albums are impeccable – to jazz what Steely Dan was to mainstream rock at the time (and we mean that in the best way possible!) – and as you'll hear with some slight inclusion of vocals (most famously by Randy Crawford on Street Life), these guys also found a way to win whole new audiences to jazz from the world of soul too. A great package – with all five albums in little tiny LP-styled covers!  ~ Dusty Groove

CHUCK MANGIONE – 5 ORIGINAL ALBUMS (CHASE THE CLOUDS AWAY / MAIN SQUEEZE / FEELS SO GOOD / FUN & GAMES / 70 MILES YOUNG)

Five full albums from a time when jazzman Chuck Mangione was at the height of his powers – all served up here in one package, with tiny LP-styled covers for each CD! Most of these records were instant hits for Mangione, and for good reason too – as Chuck's got a way of balancing the sweet and the soulful here nicely – drifting along with the rhythms, so that all the most rounded, open notes of his horn cascade out warmly – yet never in the sort of too-polished mode that would show up later in mainstream fusion. From the perspective of the 21st Century, it's surprising how strongly creative these records sound – especially when some sonic surprises come into the mix, or Chuck stretches things out in unusual says – such as on the long title track of the final album. A great way to bring all these albums together – which sound even stronger as a whole than on their own!  ~ Dusty Groove

NEW RELEASES: KIM TIBBS – KIM; TOM HARRELL – MOVING PICTURE; VIJAY IYER SEXTET – FAR FROM OVER

KIM TIBBS – KIM

The debut album from Kim Tibbs – not only a wonderful singer, but also a heck of a keyboardist too – as you'll hear here through her work on Hammond and Fender Rhodes! Kim's got a soaring style of soul – upbeat, positive, and with this flow that moves right along with the keyboards – not the simple "beats and keys" mode of underground soul from a generation before, but a really focused sense of energy that almost seems to glow with an Incognito sort of positivity! Co-producer Reginald Myricks handled a lot of the songs and instrumentation with Tibbs – and they're clearly an unbeatable pair together, with an undeniable energy that's underscored by the way that five of the album's twelve tracks are listed on the cover with an exclamation point! Titles include "Soul", "Drifting", "My Better Side", "A Building That'll Last", "The River", "My Reason For Life", "Come On By", and "I Need You For Your Love". CD also features a bonus – "Soul (rmx – ext DJ version)".  ~ Dusty Groove

TOM HARRELL – MOVING PICTURE

Tremendous work from trumpeter Tom Harrell – a musician who's been making records for decades, but just seems to sound better and better as the years go on! Tom's always been wonderful, but a record like this seems to have him on fire with a whole new sense of purpose – a fresh musical mission, even at a time when he could easily sit back and rest on his laurels – really soaring out in a range of beautiful new compositions, and working in this soulful quartet that includes excellent piano from Danny Grissett, plus bass from Ugonna Okegwo and drums from Adam Cruz. Harrell's command of his trumpet and flugelhorn is amazing – fresh sounds, fresh tones, fresh lines that continue to hold us rapt throughout – on titles that include "Time Passage", "Montego Bay", "Moving Picture", "Apple House", "Sea", "Four The Moment", and "Different Clouds".  ~ Dusty Groove

VIJAY IYER SEXTET – FAR FROM OVER

A fantastic statement from pianist Vijay Iyer – an album recorded with a sextet who really seem to help the artist leap forward strongly with a more spiritual vision than ever before! The group is great – with Graham Haynes on cornet, Mark Shim on tenor, Steve Lehman on alto, Stephan Crump on bass, and Tyshawn Sorey on drums – and in addition to boldly-phrased work on acoustic piano, Iyer also plays some Fender Rhodes – used in more spacious ways that are extremely beautiful, and which we find far more soulful than some of his more abstract use of electronics! The set's quite a surprise – both for ECM and Iyer – and titles include "Poles", "Far From Over", "End Of The Tunnel", "Down To The Wire", "For Amiri Baraka", and "Thrednody".  ~ Dusty Groove

INCOGNITO: THE BEST (2004-2017) Includes 5 Brand New Songs

Incognito is firmly established in the music scene. There is no band beside Incognito with their over 35 years of music career that influenced the Acid Jazz that intensive. Since their foundation in 1980 by mastermind Jean-Paul “Bluey” Maunick it’s impossible to imagine a music world without the British Jazz/Funk/Soul band.

During the career Incognito has had hit singles all along the way. The band performed at all major festivals from Montreux via Monterey to North Sea Jazz and back. Bluey has over the years also worked as a producer for other artists including George Benson, Philip Bailey, Maxi Priest and Brenda Russell amongst others.

This new Best of Collection concentrates on the band’s very successful years 2004 - 2017. It was by far no easy task to decide on the best songs out of their impressive studio album portfolio of that time.

The result are 12 incredibly groovy tunes which reflect the band’s tremendous energy, combined with five brand new & exclusive songs: two amazingly funky vocal tunes – “Until The 12th of Never” and “Craziest High” – as well as three beautiful and energetic instrumental songs – “Jam On The Tyne”, “Pyramids On Mars” and “Village Life” - which mirror once more the high quality standard of Incognito’s incredible musical arrangements.

TRACKLISTING

1. Until The 12th Of Never (brand new song)

2. Just Say Nothing (feat. Vanessa Haynes) (taken from “In Search Of Better Days”)

3. Goodbye To Yesterday (feat. Mo Brandis) (taken from “Surreal”)

4. Craziest High (brand new song)

5. I Couldn't Love You More (feat. Vanessa Haynes) (taken from “Amplified Soul”)

6. Jam On The Tyne (brand new song)

7. Hats (Make Me Wanna Holler) feat. Tony Momrelle (taken from “Amplified Soul”)

8. Don’t Turn My Love Away (taken from “Adventures In Black Sunshine”)

9. Lowdown (feat. Mario Biondi & Chaka Khan) (taken from “Transatlantic R.P.M”)

10. It's Just One Of Those Things (taken from “Eleven”)

11. Pyramids On Mars (brand new song)

12. Step Aside (taken from “Tales From The Beach”)

13. Love Born in Flames (feat. Imaani & Stuart Zender) (taken from “In Search Of Better Days”)

14. Village Life (brand new song)

15. Always There (taken from “Live In London – 35th Anniversary Show)

16. Still A Friend Of Mine (feat. Imaani) (taken from “Live In London – 35th Anniversary Show)

17. Givin' It Up (taken from “Live In London – 35th Anniversary Show)

NEW MUSIC: BRUCE HARRIS - BEGINNINGS; REDISCOVERED ELLINGTON; JAMIRE WILLIAMS - EFFECTUAL

BRUCE HARRIS - BEGINNINGS

The debut album from Bruce Harris – a tight trumpeter that we'll certainly be hearing from in years to come, working here with an all-star group of musicians that really help the leader shine! The core group is a quartet – with Michael Weiss on piano, Clovis Nicolas on bass, and Pete Van Nostrand on drums – but other players step into the mix often, in a lineup that includes Grant Stewart and Jerry Weldon on tenor, Dmitry Baevsky on alto, and Frank Basile on baritone. Harris can have a bit more tradition in his tone than you'd expect for a younger player – although it also depends on the material, as the album features songs by Horace Silver, Bud Powell, Harld Arlen, and Prince – in addition to Bruce's own material. Titles include "The Step", "Mr Blakey", "Snowbound", "Ask Questions", "So Near So Far", "Una Noche Con Francis", and "Do U Lie".  ~ Dusty Groove

DIAL & OATTS / RICH DEROSA / THE WDR BIG BAND - REDISCOVERED ELLINGTON

Rediscovered Ellington is a rarity that comes along once every few decades, a trove of mostly unheard music by a music legend fashioned into a glimmering yet meditative production. The great Duke Ellington, for whom this album is a tribute, once observed that there are two kinds of music, the kind that connects to the audience with sincerity and the kind that doesn't. Judging by the response of listeners worldwide, Ellington's music is of the first kind: beautiful, cultivated, resonant, and timeless. But for there to be any audience connection at all, the music must first be heard. And that's what is special about this stunner. Maestros in their own right, Garry Dial, Dick Oatts, and Rich DeRosa unearthed these compositions from obscurity, They turned musical amnesia into memorable and vivid works that bring Ellington's life and music into sharper focus not only for the seasoned Ellington diaspora but those new to his sizable repertoire. Dial, Oatts, and DeRosa shaping these compositions with colorful and immaculate arrangements, rendering Ellington afresh and anew. Prior to this recording, few of these works had a brief public life. Most were unknown to the general public. While a few of the arrangements suggest an homage to Ellington's sound, most of the works showcase how music may be given new and refreshing life while respecting the composer's essence. The album opens with Hey Baby, a mid-tempo swing number recorded in 1946 and released on RCA Victor. It's also a well-known tune from Blue Rose, the 1956 Rosemary Clooney album. It brings the virtuosity of soloists Oatts (soprano sax), Paul Heller (tenor sax), Dial (piano) and Johan Hörlen (alto sax) to the forefront, and showcases the big band's mighty brass section in multicolored shout sections. Let The Zoomers Drool, an Ellington/Johnny Hodges tune, was originally released as a live album in 1945 on the Jazz Society label. Kabir Sehgal, multiple GRAMMY winning producer.

JAMIRE WILLIAMS - EFFECTUAL

Solo drum work from Jamire Williams, beautifully captured by the spiritual production of Carlos Nino – and balanced out occasionally with additional keyboard sounds on Fender Rhodes and Oberheim, and some other percussion instruments as well! The approach here is quite unique – as the set's neither as free as some improvised music albums, nor trying for any sort of rootsy, organic approach – as Jamire clearly has a sharp focus on some numbers, and is always keeping things on a straightforward rhythmic path – yet one that's never just about easy drum breaks or more familiar modes. The electric elements step in about a third of the time, and definitely keep a nicely dynamic range to the music – on tracks that include "In Retrospect", "Futurism", "Children Of The Supernatural", "Selectric", "Who Will Stand", "Chase The Ghost", and "Wash Me Over". ~ Dusty Groove.

 

  

THE MUSIC OF JOHN LEE HOOKER TO BE CELEBRATED WITH CAREER-SPANNING BOX SET

Craft Recordings, the Catalog division of Concord Bicycle Music, is proud to announce the release of King Of The Boogie, a career-spanning retrospective, honoring blues icon John Lee Hooker. Due out September 29th, the five-CD set delves deep into the catalog of the influential artist, featuring not only his iconic hits, but also rarities, live recordings and several previously unreleased tracks. Housed in a 56-page book, the collection includes a wide selection of photos, taken throughout the musician’s life, plus new liner notes by writer and John Lee Hooker historian Jas Obrecht, as well as by the artist’s longtime manager and friend, Mike Kappus.

  

John Lee Hooker (1917-2001) was born 100 years ago today, near Clarksdale, Mississippi to a sharecropping family. Throughout the years, there has been some academic debate about his original birth year. However, The Hooker family maintains 1917 as the de facto date. Says daughter Zakiya Hooker, “As we all know there was no great push for accuracy back then in that portion of the community. But we just stick to what my father told us, which was what he was told by his mother.” 

As a young man, Hooker worked his way up north to Detroit to pursue his passion of music. By 1948, the artist had a hit on his hands with one of his earliest recordings, “Boogie Chillun’.” From there, Hooker would record over 100 albums throughout the course of his six-decade-long career, building a diverse collection of fans along the way: from folk musicians and beatniks, to the stars of the British Invasion. The Rolling Stones, Eric Clapton and Carlos Santana are among those who cite Hooker as a major influence. In his liner notes, Mike Kappus recalls that, “Everyone who knew John Lee Hooker loved him and felt privileged to be in his presence. While he influenced generations of musicians with his incomparable style, that impact on musicians stepped up to yet another level once they got to know and, universally, love him.” 

In his later years, as the bluesman found himself in one of the busiest, most productive eras of his career, Hooker was inducted into the Rock & Roll Hall of Fame, Blues Hall of Fame and Memphis Music Hall of Fame; was honored with a star on the Hollywood Walk of Fame and took home four GRAMMY® awards, plus a coveted Lifetime Achievement award in 2000. 

Tasked with narrowing down Hooker’s vast catalog into five CDs, box set producer Mason Williams curated the collection to narrate the artist’s story. “Even at 100 songs, this set is just a snapshot of John Lee Hooker’s incredible and influential career,” says Williams, “but one that takes you on the long journey he took from his early days in Detroit, to his time in Chicago recording for Vee-Jay Records and up through his later collaborations with Van Morrison, Bonnie Raitt and Santana, among others.” 

King Of The Boogie will be released as part of a year-long, multi-partner centennial

celebration, honoring the music and influence of John Lee Hooker, and will be a companion piece to an exhibit of the same name, which kicks off today at the GRAMMY Museum® Mississippi.  John Lee Hooker: King Of The Boogie includes Hooker’s performance outfits, guitars, photos, awards and, of course, his music. The exhibit will be on display through February 2018, before traveling west to the GRAMMY Museum® at L.A. LIVE. Additional centennial partners include The Blues Foundation, The Delta Blues Museum, Living Blues, Oxford American, the John Lee Hooker Estate, and Epiphone Guitars, who are currently planning the release of a limited-edition John Lee Hooker Zephyr Outfit sometime in early 2018. John Lee’s daughter, Zakiya, has worked closely with all partners on her father’s centennial events, and affirms, “Today, on what would have been my father’s 100th birthday, I am so thrilled to see him celebrated—both with the exhibit, as well as with the announcement of this special collection of music. I know that his fans will be excited to hear rare performances, and to read the touching words of his longtime manager, Mike Kappus, as well as those of the wonderful Jas Obrecht. It was a pleasure to watch this box set come together, and I can’t wait to see it shared with the world.” 

  

JOHN LEE HOOKER – KING OF THE BOOGIE TRACK LIST:

Disc 1:

1. Boogie Chillen’ – John Lee Hooker And His Guitar

2. Sally May – John Lee Hooker And His Guitar

3. Hobo Blues – John Lee Hooker And His Guitar

4. Crawlin’ King Snake – John Lee Hooker & His Guitar

5. Black Man Blues – Texas Slim

6. Goin’ Mad Blues – Delta John

7. Who’s Been Jivin’ You – Texas Slim

8. (Miss Sadie Mae) Curl My Baby’s Hair

9. Hoogie Boogie – John Lee Hooker And His Guitar

10. Burnin’ Hell – John Lee Hooker And His Guitar

11. Weeping Willow Boogie

12. Moaning Blues – Texas Slim

13. Huckle Up Baby – John Lee Hooker And His Guitar

14. Goin’ On Highway #51 – John Lee Hooker And His Guitar

15. John L’s House Rent Boogie

16. I’m In The Mood

17. Two White Horses

18. 33 Blues

19. Sugar Mama

20. Wobbling Baby

21. Stuttering Blues – John Lee Booker

22. I’m A Boogie Man – Johnny Lee

23. Down Child

24. Odds Against Me (Backbiters And Syndicaters)

25. Shake, Holler And Run

Disc 2:

1. Unfriendly Woman [Aka Stop Now]*

2. Mambo Chillun

3. Time Is Marching

4. Dimples

5. Little Wheel

6. I Love You Honey

7. Drive Me Away

8. Maudie

9. When I Lay My Burden Down*

10. Tupelo Blues

11. Good Mornin’ Lil’ School Girl

12. I Rolled And Turned And Cried The Whole Night Long

13. No More Doggin’

14. Dusty Road

15. No Shoes

16. My First Wife Left Me

17. Crazy About That Walk - Sir John Lee Hooker

18. Want Ad Blues

19. Will The Circle Be Unbroken

20. I’m Going Upstairs

21. I Lost My Job

22. Don’t Turn Me From Your Door

23. Grinder Man

24. Meat Shakes On Her Bone*

Disc 3:

1. Boom Boom

2. Blues Before Sunrise

3. She’s Mine

4. Frisco Blues

5. Good Rockin’ Mama

6. I’m Leaving

7. Birmingham Blues

8. Don’t Look Back

9. Big Legs,Tight Skirt

10. It Serves Me Right

11. Money

12. One Bourbon, One Scotch, One Beer

13. The Motor City Is Burning

14. Mean, Mean Woman

15. Doin’ The Shout

16. Homework

17. Early One Morning

18. Rocking Chair

19. Hittin’ The Bottle Again

20. Deep Blue Sea

21. Spellbound

Disc 4: LIVE

1. Hobo Blues – Live

2. Maudie – Live

3. Shake It Baby – Live

4. Boogie Chillun – Live

5. Bottle Up And Go – Live

6. Crawlin’ King Snake – Live

7. The Mighty Fire – Live

8. You’ve Got To Walk Yourself – Live

9. I’m Bad Like Jesse James – Live

10. Boogie Everywhere I Go – Live

11.She’s Gone*– Live

12.It Serves Me Right To Suffer*– Live

13. Boom Boom* – Live

14. Hi-Heel Sneakers* – Live

15. One Bourbon, One Scotch, One Beer* – Live

Disc 5: FRIENDS

1. I Got Eyes For You – With “Little” Eddie Kirkland

2. Mai Lee – With The Groundhogs

3. Peavine – With Canned Heat

4. Never Get Out Of These Blues Alive – With Van Morrison

5. Five Long Years – With Joe Cocker

6. The Healer – With Carlos Santana

7. I’m In The Mood – With Bonnie Raitt

8. Sally Mae – With George Thorogood

9. Mr. Lucky – With Robert Cray

10. Up And Down – With Warren Haynes

11. Boom Boom – With Jimmie Vaughan

12. You Shook Me – With B.B. King

13. Don’t Look Back – With Van Morrison

14. Dimples – With Los Lobos

15. Boogie Chillen’ – With Eric Clapton

*previously unreleased

Jazz Artist Bob Holz To Release Album featuring bassist Stanley Clarke

Jazz fusion composer and drummer Bob Holz will begin recording with bassist Stanley Clarke in September for his next album due out Spring of 2018. "This collaboration with the jazz star and Return to Forever bassist and composer, Stanley Clarke will involve the recording of new compositions I wrote that will take from my roots in jazz, classical, blues and rock music," says Holz. Joining Holz and Clarke will be former Mahavishnu Orchestra bassist Ralphe Armstrong who currently plays in Holz's touring band, Bob Holz and A Vision Forward featuring Chet Catallo and Ralphe Armstrong. "My compositions have plenty of room for interplay between electric bass and acoustic bass," adds Holz. Bob Holz is presently managed by Roy Holland Productions and is signed to MVD Entertainment Group. 

"I'm really honored to record with Stanley Clarke as his music has been a strong influence on me," added Holz. Clarke has written the music for over 70 major motion pictures in addition to his successful solo career and long tenure as a member of Return To Forever with Chick Corea, Al Di Meola and Lenny White.

The recording will take place in Los Angeles with famed sound engineer, Dennis Moody recording, mixing and mastering the performances. "Dennis mixed my last album and really knows how to create a world class record," continued Holz. Moody also helped out with mixing Holz's band live last May at Catalina Bar and Grill Jazz Club in Hollywood, California. Stanley Clarke also attended that concert which led to the upcoming recording session for Holz's next album. Additionally, Executive Producer Rob Stathis will once again contribute his production skills to the making of the record. Rob Stathis has been involved with producing Holz's past collaborations with guitarist/composer the late Larry Coryell. "The loss of Larry Coryell last February was really rough. Bob and I want to continue in the tradition which Larry excelled in," says Stathis.

Since the February 2017 release of Holz's second album, Visions and Friends, Holz's touring band, Bob Holz and A Vision Forward featuring Chet Catallo and Ralphe Armstrong has played numerous live concerts from New York to California. The band features guitar guru Chet Catallo (Spyro Gyra, Chet Catallo and the Cats) and bass virtuoso Ralphe Armstrong (Frank Zappa, Mahavishnu Orchestra). Los Angeles based keyboardist Billy Steinway has been an integral contributor to Holz's efforts playing both live shows and recording sessions. Steinway will join Holz, Clarke and Armstrong at the upcoming recording session in September.

Additionally, Bob Holz and A Vision Forward featuring Chet Catallo and Ralphe Armstrong are getting ready to perform a show in New York City in early November 2017.

http://www.bobholzband.com

Guitarist H Allan rocks “Stiletto Heels”

He struts with confidence on his debut release that reimagines the Richard Elliot sax classic as a searing guitar jam. The single goes for radio adds on Monday.

Like most guitar players who came of age in the 80s, H Allan was an Eddie Van Halen disciple and he loved to shred. The wannabe rocker never would have imagined that one day he would release a cover version of a tune by smooth jazz sax star Richard Elliot as his debut single, but that’s what will happen on Monday when his version of “Stiletto Heels” goes for radio adds.

Allan’s first job out of college was with the LA Sax Company, the maker of color-coated saxes used by an array of artists in all genres of music, including Elliot. His duties required that he attend shows whenever the musicians played Chicago thus Allan attended all of Elliot’s local gigs in the early 90s. A dynamic, high-energy performer, Elliot plays sax aggressively with power, passion and pyrotechnics much like the way Van Halen plays guitar, which quickly impressed Allan and won his respect and admiration. One song in Elliot’s set, the funky “Stiletto Heels” from the 1991 album “On The Town,” never fails to whip audiences into a boisterous frenzy. The tune and the way Elliot attacks it - well, simply put, it’s got balls - the kind that would make a lasting impression on Allan, who had the privilege of working with the saxman for nearly a decade.

A few years ago, long after he moved on from the LA Sax Company, Allan’s own dream of being a recording artist was rekindled. He recorded a few original demos and decided to convert “Stiletto Heels” from a powerhouse sax joint into a raucous guitar-led number.

“I was always blown away by Richard’s playing skills, musicality and ability to connect with his audience. I thought it would be cool to hear a guitar version of this saxophone classic (“Stiletto Heels”),” said Allan, who was named H at birth when his parents couldn’t agree on what name beginning with the letter h to give him.

He began recording demos on which he played all the lead sax, rhythm guitar and keyboard parts on guitar. Allan decided to send the tracks to Elliot’s longtime keyboardist Ron Reinhardt who was so impressed that he offered to record the keyboard parts for the reboot. Then, after seeing a Facebook post from Elliot’s drummer, Eric Valentine Jr., offering his services as a session player, he landed a drum track from a second core member of Elliot’s band. Another prominent role on the “Stiletto Heels” rhythm track is the elastic basslines for which he recruited fellow Chicago native Mike “Funktastic” Zabrin to handle.

Piece by piece, it was coming together, but Allan struggled to find his unique guitar voice. He tried out a number of guitars and different approaches – some pure rock with lots of distortion that were true to his roots and some purposely smooth jazz. Eventually he settled on a vintage 1980s Gibson ES-175 guitar with Benedetto pickups and flat wound strings that has the type of clean electric jazz guitar sound that “Wes Montgomery himself would be proud of,” Allan said about the missing link.  

A longtime Frank Zappa acolyte, Allan tapped Zappa band member Robert Martin to mix and master the single. When Elliot heard Allan’s reimagined rendition, he said, “I freaking love it!”

Allan’s hopes for “Stiletto Heels” are clear. “The goal of this project is to get the single onto the charts and try to open some doors to playing shows as a solo artist as well as gigging with other artists.” He’s begun plotting his next recording project, but is keeping the details close to the vest for now.

www.HAllan.info.