GREG SPERO & SPIRIT FINGERS Eponymously Titled Shanachie Debut Dropping 3/16

"I feel I have a mission and something to say," confides pianist Greg Spero and leader of SPIRIT FINGERS. "It requires a lot of digging and a lot of agony to get to the point where it can be said truly and honestly." The forward-thinking and introspective pianist has been in the woodshed with his electrifying quartet SPIRIT FINGERS, who will make their Shanachie Entertainment debut on March 16, 2018 with  their explosive eponymously titled CD. "We've been working on this for a year and a half, and have finally captured where we are on this new recording. We've only scratched the surface."  The new CD promises to be one of the highlights in jazz in 2018. A riveting collection of originals, SPIRIT FINGERS takes us on a glorious genre-bending excursion of free-wheeling groove,  unbridled swing, and rhythmic fancy. Spero and company lock-in creating a thrilling soundscape and moments of beautiful telepathic interplay that make the journey more than worth- while. SPIRIT FINGERS, formerly known as Polyrhythmic, has steadily been building a fan base and has amassed (under their original name) more than 250,000 views on YouTube. SPIRIT FINGERS is pianist Greg Spero, Parisian bassist Hadrien Feraud (John McLaughlin, Kamasi Washington, Chick Corea), Dallas drum prodigy drummer Mike Mitchell (Stanley Clark, Christian McBride, Chrisette Michelle) and Italian guitarist Dario Chiazzolino (Dave Liebman, Buika, Taylor Eigsti). 

Shanachie VP of Jazz A&R Danny Weiss, who signed Greg Spero, is a veteran jazz producer who has recorded some of the biggest names in jazz. Weiss produced guitarist Larry Coryell's landmark album Spaces, featuring John McLaughlin, Chick Corea, Miroslav Vitous and Billy Cobham. "When I started out making jazz records in the late 60s and early 70s, there was a great sense of adventure, innovation and excitement in the music. Since then, some great music has been created, but that vitality and innovation has become scarce," states Weiss. "When I heard Greg Spero and his band I felt an excitement that I had not experienced in a long time. Not only is his virtuosity on the highest level, but the passion, the sense of adventure and innovation, and flat out groove are off the charts. Greg's music has reminded me why I'm in this business!"

Greg Spero says, "I am excited every day to get better at composing and playing within the context of this brilliant ensemble and to reach the point where I can share it honestly with people who are interested to take this journey with me." For the past three years, Spero has divided his time between SPIRIT FINGERS and doing sound design and keyboards for Capital electropop singer/songwriter Halsey. He recently capped off his tenure with the singer with a final performance on Saturday Night Live on January 13th.  His departure from the band allows him to focus his energy fully on SPIRIT FINGERS. Most of the music featured on SPIRIT FINGERS evolved while Spero was on the road with Halsey. "I started this music when I would go back to the tour bus and compose every night after playing Halsey shows," shares Spero. "The music just kept evolving every night and I drew inspiration from everything around me. We were on tour opening for The Weeknd and I love The Weeknd, so some significant influence from that music filtered into the compositions I was creating."

Born in Chicago, the son of two pianists, Spero began working professionally with his father's blues band at 14. A year later he was playing in the Chicago fusion band Bucket Shop with musicians twice his age. The pianist cites two fellow Chicagoans as early influences: Robert Irving III, who was one of his first musical mentors and Herbie Hancock. Spero has formed close friendships with both pianists. Spero majored in music composition and jazz piano performance at the University of Illinois Urbana-Champaign, known for their renowned music composition program. He studied a wide range of composition including classical, atonal, algorithmic and electronic music.  Following college, Spero became a mainstay in Chicago's creative music scene and also participated in a number of Hip Hop projects in New York playing on tracks that featured Curren$y and Ski Beatz, among others. Spero also had the good fortune to join the Buddy Rich Big Band, where he performed with drummer Dave Weckl and met longtime Prince drummer John Blackwell. He ended up working with John Blackwell's band for several years after that.  In January 2013, Spero received the Best Jazz Entertainer award at the Chicago Music Awards. Last Spring, Spero toured with the Miles Electric Band under the direction of Vince Wilburn, Jr. and alongside the likes of Christian Scott and Darryl Jones, among others. 

There is an honesty and openness in SPIRIT FINGERS' music that is almost palpable. Greg Spero, who is a practicing Buddhist, concludes "I want to explore a landscape of music that is uncharted. I want to use the compass of music history and an intellectual understanding of the essence of music to guide me into its center, where I can access something rare and special that goes beyond the intellectual understanding and can only be brought into this world from a spiritual grounding, with a human as its vessel."

Chicago Vocalist and Trumpeter ANDREW DISTEL'S "IT ONLY TAKES TIME"

“It is this glorious voice which holds the attention and makes a huge impression here, from start to finish… The two main factors that make this guy a cut above the rest, is his vocal control and his immaculate phrasing. Maybe three factors, come to think about it; his stunning tone too, of course… We may well have just found ‘the next big thing’ in male jazz singers. Chicago’s best kept secret is out.”  -- Simon Redley, Music Republic Magazine

“Andrew has an intimate style that is well served by his attractively warm and gently persuasive vocal sound. Male vocalists remain something of a rarity in jazz and it is good to add this fine singer to the ranks. This album will appeal to the audience for jazz and to that for classic pop and must surely bring him many new fans.” – Bruce Crowther, Jazz Mostly

“Distel has a light baritone that he uses effectively at any tempo…. a nicely paced and interesting program that shows off Distel’s vocal versatility… Distel indicates that the title of the disc reflects the several years it took to get this project together and released.  It was worth the time and effort.”

– Joe Lang, Jersey Jazz

IT ONLY TAKES TIME, the second CD by the multi-talented singer, trumpet player, and composer ANDREW DISTEL is a showcase for Distel’s modern vocal stylings.  Distel is a mainstay on the Chicago jazz scene.  Over the years, he’s built a solid reputation as a talented trumpeter and a fresh, new jazz voice. With his crystal clear vocals and flawless delivery that bring to mind Kenny Rankin and Michael Bublé, he’s been a popular, in-demand performer as a leader and a sideman in all the major clubs in and around Chicago.  Distel is a singer with an instrumentalist’s sensibilities. A superb improviser, he tells the story of a song with straightahead honesty and an inviting vocal quality filled with compelling tonal colors and emotive phrasing.  Distel is joined on this CD by acclaimed instrumentalists PETER MARTIN and CARLOS ENRIQUEZ, as well as some of the finest musicians in the Chicago area.

Andrew Distel  vocals and trumpet  |  Peter Martin  piano Carlos Enriquez  bass  |  George Fludas  drums Jim Gailoretto  woodwinds  |  Howard Levy harmonica Dave Onderdonk  guitar  |  Geraldo DeOlivera  percussion Brian Schwab  trumpet  |  Raphael Crawford trombone

TRACKS: Speak Low 2. Alfie 3. One Morningstar Away  4. Amor  5. Wait for Me  6. Who Cares 7. Too Soon to Tell   8. Smoke Gets in Your Eyes   9. Your Last Song   10. Into Each Life   11. You Are There 

LISTENING LINK:

STREAM ON SOUNDCLOUD: https://soundcloud.com/andrew-distel/sets/it-only-takes-time/s-tP3Ad

 

Bassist and Composer MARTIN WIND Releases a Milestone Recording With LIGHT BLUE

Laika Records (Germany) will release Martin Wind's LIGHT BLUE on March 2, 2018. The recording, his 20th as a leader or co-leader, features old friends: Anat Cohen (clarinet), Ingrid Jensen (trumpet), Matt Wilson (drums), Scott Robinson (multi-reeds), Bill Cunliffe (piano), Gary Versace (piano, organ), Duduka DaFonseca (drums) and Maucha Adnet (vocals). There are milestones in a musician's career, and life for that matter, which pass without acknowledgement. What with rehearsals, travel, and recording sessions, a busy professional rarely has the opportunity to note a watershed moment. With the realization of his latest release LIGHT BLUE, Martin Wind registers the significance of this moment in time. This recording comes some twenty-five years after recording his first release as a leader, Gone With The Wind (September Records), twenty years since he recorded in New York, Family (A Records), and LIGHT BLUE is being released shortly before he turns fifty. Since that initial outing, Wind has released another 18 albums as a leader or co-leader and he has become one of New York's most in-demand bassists.

Wind recorded LIGHT BLUE with engineer Matt Balitsaris at Maggie's Farm in April 2017 in between a myriad of gigs including backing singers Dena DeRose and Ann Hampton Callaway, Ted Rosenthal's Monk Project, showcasing his quartet in Los Angeles, and performing with Pat Metheny and Matt Wilson at the Wichita Jazz Festival. The remainder of the year found him touring with Matt Wilson's "Big Happy Family" (performing Honey And Salt, the poetry of Carl Sandburg), presenting Schubert's "Trout Quintet" and the premiere of his composition "Looking Back" with the American Chamber Ensemble, and performing George Gershwin's "Rhapsody in Blue" with Ted Rosenthal and Phoenix Symphony. Somehow he also found time to tour with his partner, the legendary Belgian guitarist Philip Catherine.

LIGHT BLUE is actually two recordings. Side A: LIGHT features the Martin Wind Quintet with Scott Robinson, Ingrid Jensen, Gary Versace, and Matt Wilson, all musicians Wind has performed with on an almost continual basis. Wilson and Jensen can be heard on Wind's very first New York recording, and the bassist is a member of the drummer's quartet Arts & Crafts, as is Versace. Robinson has been a member of the Martin Wind Quartet since it's inception in 2007. Side B: BLUE is a new group of old friends called, "De Norte a Sul". This group shares multi-instrumentalist Robinson with LIGHT. Cohen and Wind formed the group NY3 with Wilson in 2014, and besides performing Brazilian music with Maucha Adnet and Duduka DaFonseca, Wind's son and their daughters have become great friends. This is the first time Wind's music has included a vocalist and lyrics written for his compositions. Adnet maneuvers the Brazilian-favored Portuguese and English lyrics with a remarkable beauty.

Besides being a master musician, Wind penned the ten compositions heard on LIGHT BLUE. There are seven new pieces and three that are new versions of some of his "classic" compositions, such as "10 Minute Song" and "Cruise Blues," both from his quartet recording Salt 'N Pepper (2008), and "A Sad Story" from Gone With the Wind (1993). His skills as an arranger are evident here, as they were on the critically acclaimed Turn Out The Stars (What If? Music, 2014), on which Wind performed music written or inspired by pianist Bill Evans with his quartet, plus the Orchestra Filarmonica Marchigiana.

  

More on Martin Wind: The artist was born in Flensburg, Germany in 1968 and he took third place in the International Thelonious Monk Bass Competition in 1995. In 1996 he moved to New York. He earned a master's degree in jazz composition and performance in 1998 from New York University and now is on the faculty at NYU and Hofstra University. He performs solo, in duo with Philip Catherine and Ulf Meyer, leads his own quartet, and is a member Matt Wilson's Arts & Crafts, Bill Cunliffe Trio, Bill Mays Trio, Dena DeRose Trio, and many others. He has also performed and/or recorded with the following artists: Guidon Kremer, Christoph Eschenbach, Mstislav Rostopowitch, Lalo Schifrin, Monty Alexander, Pat Metheny, Clark Terry, Mark Murphy, Slide Hampton, Toots Thielemans, Buddy DeFranco, The Metropole Orchestra, Radio Big Bands Cologne, Hamburg, Frankfurt and Berlin, Michael Brecker, Randy Brecker, Eddie Daniels, Curtis Fuller, Phil Woods, Bud Shank, Johnny Griffin, Bucky Pizzarelli, Mike Stern, Larry Goldings, Johnny Mandel, Frank Wess, James Moody, Hank Jones, John Scofield, Sting, Ann Hampton Callaway, Michel Legrand, Mulgrew Miller, Ken Peplowski, Anat Cohen, Benny Green, Vanguard Jazz Orchestra and others.

www.MartinWind.com/LightBlue

Monophonics are back with a six-song EP that fuses the complimentary and explosive soul, rock and funk influences

Monophonics are back with a six-song EP that fuses the complimentary and explosive soul, rock and funk influences, proving themselves to be the rightful inheritors of the Bay Area’s impressive psychedelic soul sound. Mirrors is comprised entirely of cover tunes, except that I doubt you’ve ever heard of half the deeply funky and soulful originals that inspired these soulful, tastefully produced, and timeless Monophonics treatments. “We wanted to do a couple songs that were more familiar to people and then shine some light on groups we’re big into,” lead singer, keyboardist and co-producer Kelly Finnigan explains. It takes a lot of guts to cover your favorite songs, your van jams, that song you play as a shot of inspiration to break-up a marathon studio session. “Not only are these great songs, but these are artists that we listen to and are influenced by.”

“It’s not about making records that sound old, it’s about making records that sound cool,” Kelly says. Not that he and the other five members of Monophonics mind if you confuse their albums for classic-era recordings. Even musician friends regularly mistake a sweaty and greasy Monophonics original for an unheard Bar-Kays’ side, or a deep soul cover tune might pass for an original to a novice ear, except that Kelly makes sure to give credit where credit is due, which is what they do explicitly on this EP, Mirrors.

Even the familiar tunes, iconic, better said, receive a fresh treatment as instrumentals, despite their ubiquity as vocal songs. The EP opens with a ‘tip of the cap’ to The Main Ingredient’s version of “Summer Breeze” before the band unfolds a hazy, mellow-funk opus worthy of inclusion on a Bob James CTI album. The next four songs, all featuring vocals, range from the lowrider soul ballad, a cover of the The Invicibles’ “My Heart Cries” (video: https://youtu.be/PG107nMMCeo0) with a pleading and plaintive vocal by Nicole Smith, to the psychedelic blues stomp, “Lying,” originally by the archetypical psychedelic soul band nearly signed to Motown, Black Merda. Add in Kelly’s monster vocal take on Frankie Valli and the Four Seasons Northern Soul classic, “Beggin” (to be released as a 7” single with an instrumental version on the b-side), and the deep-funk pop-soul of Nu People’s “I’d be Nowhere Without You” with back-up vocals by Jeanine Jones and Veronica Johnson, and you have a highly-entertaining, toe-tapping, backbone-slipping, masterclass in deep funk and soul.

The final tune is the band’s singular take on the Mamas and the Papas hippie standard, “California Dreaming,” as an explicit and heartfelt tribute to their fans in Greece. The discerning music lovers of Greece fell in love with Monophonics after their 2012 hit “Bang Bang” resulting in multiple tours of the Mediterranean, where these native Californians imbibed on the fine ouzo, good vibes, and Grecian hospitality. Gifted a prized bouzouki (a traditional Greek guitar) by a local fan, Monophonics’ guitarist Ian McDonald and band infused this classic pop song with a soulful cinematic air and Mediterranean flavor, evoking a tune from an imagined Fellini film with a soundtrack by David Axelrod.

Catch the band on the road this Spring to hear some of these songs, favorites and new tunes from their forthcoming LP.

TOUR DATES

02-06 @ HiFi Music Hall – Eugene, OR

02-07 @ Volcanic Theatre Pub – Bend, OR

02-08 @ Wild Buffalo – Bellingham, WA

02-09 @ Wonder Ballroom – Portland, OR

02-10 @ The Crocodile – Seattle, WA

02-11 @ The Crocodile – Seattle, WA

02-16 @ Sweetwater Music Hall – Mill Valley, CA

02-17 @ Sweetwater Music Hall – Mill Valley, CA

02-18 @ Crystal Bay Club – Crystal Bay, NV

02-21 @ The Top Hat Lounge – Missoula, MT

02-22 @ Rialto Bozeman – Bozeman, MT

02-24 @ Animas City Theatre – Durango, CO

03-02 @ Schmiggity’s Live Music Dance Bar – Steamboat Springs, CO

03-03 @ Cervantes’ Other Side – Denver, CO

03-08 @ Fox Theatre – Boulder, CO

03-09 @ Paradise Theatre – Paonia, CO

03-10 @ Sheridan Opera House – Telluride, CO

TRACKLISTING

Summer Breeze

My Heart Cries

Beggin’

Lying

I’d Be Nowhere Today

California Dreaming

Official Site: http://monophonics.com

Facebook: https://www.facebook.com/monophonics

Twitter: https://twitter.com/monophonicsfunk

Instagram: https://www.instagram.com/monophonicsphoto

Youtube: https://www.youtube.com/user/monophonicsfunk

Pianist Renee Rosnes Takes Inspiration from Painter Emily Carr for New Release, Beloved of the Sky

The worth of a thing is not only to be found in its bottom-line value. That's the idea at the heart of Canadian artist Emily Carr's painting "Scorned as Timber, Beloved of the Sky," which depicts a solitary tree, rejected by loggers who have clear-cut its neighbors, stretching improbably but majestically into the heavens.

It's a sentiment that resonates deeply with pianist/composer Renee Rosnes. On her new album, Beloved of the Sky -- which borrows its title and cover art from Carr's painting -- Rosnes explores the beauty and wonder to be found in life's more elusive, intangible joys. The album's nine pieces ruminate on pleasures and inspirations that don't come with a price tag -- the splendor of nature, the mysteries of the universe, the comforts of home, the treasured memories of lost loved ones, the simple warmth of an inside joke.

Beloved of the Sky (due out April 6 on Smoke Sessions Records) also celebrates the chemistry and discovery made possible by a band of truly remarkable musicians, each one a master of their instrument: saxophonist Chris Potter, vibraphonist Steve Nelson, bassist Peter Washington, and drummer Lenny White. "The beautiful thing about working with such masters is that they channel a wealth of experience, skill and imagination into the new compositions," says Rosnes. "It's exhilarating to hear the music transform and blossom, and inevitably develop into something greater than what I initially imagined."

In the artwork of Emily Carr (1871-1945), Rosnes finds a kindred spirit -- not just in their mutual concern for humanity and the environment, but also in their common origins in western Canada. Carr's work often depicts landscapes familiar to Rosnes from childhood, and a shared fascination of the art and culture of the First Nations people.

"There are several Carr paintings that display her concern for the environment, and specifically the clear-cutting of the forests. Having grown up in the Pacific Northwest, her canvases of coastal landscapes and deep woods are familiar territory and evoke a strong emotional response in me. Her work feels like home," Rosnes says.

That feeling comes across in the painterly scene-setting of Rosnes' "Scorned as Timber, Beloved of the Sky." Potter's soprano and Nelson's vibraphone combine to lead the listener along a winding path that stretches skyward with the same stoic beauty as Carr's lone pine. Rosnes' piano brings the nurturing warmth of the sun, Potter's darting solo the aspirational reach, and Nelson's resonant vibes add a regal defiance.

The title track is preceded by the bristling "Elephant Dust," which in its forceful momentum suggests a thundering herd of the massive beasts. The title actually comes from the pianist's mother, who, after touching an elephant at a circus, suggested she was allergic to "elephant dust" after suffering a violent reaction -- requiring a rush trip to the hospital. Equally strong, if far more constructive, reactions fuel the urgent interaction between Rosnes' pointed playing and Potter's burly tenor.

  

Originally composed for the SFJAZZ Collective to feature Bobby Hutcherson, "Mirror Image" pays tribute to the legendary vibraphonist, who passed away in August 2016. Nelson ably steps into the master's shoes to engage in an elegant dance with Rosnes. Hutcherson wrote the lovely and loving "Rosie" for his wife of more than 40 years, Rosemary, who died almost exactly one year later. On that very day, and before the news had reached her, Rosnes says that she "came across Bobby's handwritten chart of the piece and sat down to play it.  Later on I thought about their spirits being reunited, and knew I wanted to record 'Rosie' in honor of them both."

Reprising the passion for scientific investigation that was central to Rosnes' previous Smoke Sessions release, Written in the Rocks, "Black Holes" casts its eyes -- and its music -- to the cosmos. Jim McNeely had arranged a version of the same tune for the Danish Radio Big Band several years earlier, but in this smaller incarnation the quintet manages to sound just as formidable -- and interstellar. They then compact for the meditative "The Flame and the Lotus," a blues-infused take on tranquility.

The cascading melody of "Rhythm of the River" vividly depicts a flowing stream -- whether a literal one in nature or a figurative life force coursing through all things remains intriguingly vague, but a case could be made for either, or both. Potter's lively flute is buoyed by White's joyfully chattering cymbals, launching the leader into an ecstatic solo.

Rosnes discovered Alec Wilder's rarely-revisited "The Winter of My Discontent" through Helen Merrill's recording with lyrics by Ben Ross Berenberg that seem tragically relevant today: "The world is full of dissonance / The scheme of things is wrong / The air resounds with the resonance / Of a harsh and spiteful song." Rosnes' stark, moving solo intro wrings out that turbulent emotion without the need for a word to be sung. Finally, a memorable line from Maurice Sendak's classic Where the Wild Things Are -- "Let the Wild Rumpus Start!" -- unleashes the band for a gleefully anarchic finale, driven by the propulsive pairing of White's roiling drums and Washington's ardent, vigorous bass.

Washington and Rosnes share a partnership that dates back more than 30 years, to the pianist's arrival in New York City. "There's a shared history and depth of knowledge that contributes to the way we musically communicate with one another," Rosnes says. Potter was also an early collaborator, appearing on a pair of the pianist's mid-'90s Blue Note releases. She calls the saxophonist "a towering musician: a virtuoso with an endless imagination. It's thrilling to get back into the studio with Chris."

White is an acquaintance of more recent vintage, though Rosnes has long admired his playing with many of the music's most legendary figures. "Lenny has worked with many of my heroes," she says, adding that "hebrings great architectural beauty, swing, and power to the music at all times." Nelson also appeared on Written on the Rocks, and Rosnes praises him as "a technically gifted musician, whose heart and soul comes through in every note. Steve and I have a wonderful rapport and he consistently surprises me with his ingenious explorations."

Like Carr's "scorned" tree, Rosnes and her quintet stand apart from the clamor, crass commercialism and self-interest that surrounds them. Beloved of the Sky is a gorgeous yet defiant statement that aspires to the heavens while staying firmly rooted to the earth, bold and striking in its unique beauty.

"Beloved of the Sky" was produced by Paul Stache and Damon Smith and recorded

live in Brooklyn, New York at Systems Two and mixed to ½" analog tape

using a Studer mastering deck. Available in audiophile HD format.

Renee Rosnes · Beloved of the Sky

Smoke Sessions Records · Release Date: April 6, 2018

 

Urban jazz harpist Mariea Antoinette provides a glimpse of her forthcoming album by dropping a euphoric single from the album "Overture"

The dramatic opening immediately commands attention. Emerging from the lab with a preview of her upcoming summer album, urban jazz alchemist Mariea Antoinette returns on January 29 with the jubilant “Overture,” the new single featuring her mystical harp pouring forth as a bubbly protagonist. The divine stringed instrument is cast amidst an intriguing orchestral proscenium both ancient and modern constructed by a nine-piece string section, three-piece horn section and an empowering rhythm track crafted by Emmy winner and two-time Grammy-nominated producer Allan Phillips, who co-authored the composition with Antoinette.       

“Overture” is the first original recording from Antoinette since her Phillips-produced “Straight from the Harp,” which was a Billboard Top 5 smooth jazz album in 2015. The new cut demonstrates that her mission to shatter preconceived limitations, stretch and abolish musical borders and boundaries, and expand the possibilities for the harp as a lead instrument in R&B, jazz, funk, soul and rock remains unwavering.  

“My goal has been to present the unexpected: to make the harp the lead instrument backed by bass, drums and percussion. I am continuously stretching and pushing the boundaries of the harp, making a clear statement that it possesses a funky and powerful place in contemporary music. The harp is unexpectedly expressive in its delivery, a forceful lead voice and soloist in the midst of it all,” said the San Diego-based Antoinette.

In addition to vaulting into the elite ranks of the Billboard chart, Antoinette’s “Straight from the Harp” garnered an abundance of national airplay as well as critical plaudits. The mix of originals and R&B classics that comprise her sophomore outing was released in two versions. The spring 2015 release was enhanced in the fall the same year by two additional tracks and new cover art when it was issued as “Straight from the Harp: Special Edition.” Her debut album, “Sexy Paradise,” produced by the late Fattburger leader Carl Evans Jr., streeted in 2003.    

A visually striking figure that also brings sensuality to the harp, Antoinette’s alluring artistry has landed her the opportunities to perform for President Barak Obama and First Lady Michelle Obama, back Ne-Yo at the BET Awards, and play Grammy parties for Vanity Fair magazine, Mary J. Blige and Jamie Foxx. In addition to her solo bookings, Antoinette is part of the powerhouse all-female jazz collective Jazz in Pink, with whom she has been performing at music festivals across the U.S. and abroad since 2007.      

https://www.marieaantoinette.com

Cuban-based singer, songwriter, percussionist and bandleader Brenda Navarete releases solo debut "Mi Mundo"

Mi Mundo introduces a shining new star on the world music firmament. This is the solo debut of Brenda Navarrete, a Cuban-based singer, songwriter, percussionist and bandleader of rare skill and musical originality.

She has previously made an impact singing in the internationally-acclaimed Cuban group Interactivo, performing at clubs and festivals in the U.S. and Canada, but she now takes a giant creative leap forward with Mi Mundo. Set for worldwide release on ALMA Records 2-16-18, the album was recorded in Havana with producer Peter Cardinali (ALMA’s founder), award-winning engineer John “Beetle” Bailey, and an all-star cast of Cuban instrumentalists.

“Being able to record Mi Mundo in Havana is a dream come true,” Brenda explains. “Havana is where I was born. Cuba is my country, my homeland, and having the opportunity to record here with musicians who know me and who understand my musical style is amazing. The energy of Cuba and Havana is very important to me, and I think that we have captured that force on this album”.

The stylistically eclectic album features a variety of group settings, with the primary instruments consisting of drums, piano, electric bass and percussion, including batá and congas played by Navarrete. Renowned special guests include Horacio ‘El Negro’ Hernandez, Rodney Barreto and Jose Carlos on drums, Roberto Carcasses, Rolando Luna and Leonardo Ledesman on piano, Alain Perez on bass (he also arranged several of the songs and wrote “Taita Bilongo”), Adonis Panter on quinto and Eduardo Sandoval on trombone.

Brenda’s initial musical reputation centered on her ability as a percussionist, on batá, but it is her warm and fluent voice and songwriting ability that take centre stage on Mi Mundo. Four of her original compositions appear on Mi Mundo, including “A Ochun.” “That song is very special to me,” says Brenda. “It was my first composition and one of my first recordings. Ochun is the goddess of love and it’s a song that I wrote while sitting on the bank of a river, where Ochun is said to live. Most of the song came out that first day and I finished the arrangement at home and dedicated it to her when it was recorded.

A genuine highlight on an album devoid of lowlights, “A Ochun” is a dynamic and delightful treat that begins with percussion and call and response vocals, which then fade away in favour of gentle piano and flute stylings.

Navarrete describes Mi Mundo as “a World Music record, with an Afro-Cuban flavour. I chose that title because this is a reflection of my musical world. I have a tremendous range of influences, having grown up in a very musical environment.

“When I was a little girl, my sister and I loved to listen to jazz greats like Sarah Vaughan, Ella Fitzgerald and Billie Holiday. I also gravitated to artists like Nat King Cole, John Coltrane, Bobby McFerrin, Miles Davis, Yellow Jackets and Cassandra Wilson, but also BoyzII Men and Take 6. My home environment also featured music from great Cuban artists like Cecilia Cruz, Benny More and Celeste Mendoza.

“All those artists and musical styles have contributed to my musical growth since I was a child. All of that energy and the different rhythms, colours and styles of Afro-Cuban, Latin Jazz and World Music have inspired me as a composer. I adore Cuban music, and mixing all of those styles together with traditional Cuban music is powerful and exhilarating.”

An example of this original and compelling fusion is “Caravana,” Brenda’s distinctive take on the Duke Ellington classic “Caravan.” “Rumbero Como Yo” is full and powerful, featuring six musicians imparting an intoxicating rumba feel, while “Taita Bilongo” is an infectiously rhythmic number boosted by trumpet and a guest male vocal appearance by the song’s composer, Alain Perez. Another sparkling gem on Mi Mundo is “Anana Oye.” Featuring bubbling bass, rollicking piano, breezy flute, and strong backing vocals and percussion, its seductive melody will transport you to a warm and carefree place.

Navarrete’s formal musical education included studying percussion at the Amadeo Roldán Music Conservatory in Havana. “I was trained in symphonic and Cuban percussion on a variety of instruments, as well as piano,” she recalls. “I also studied the history of universal music, Cuban music and music theory, but learning batá was more of a street classroom experience along the way. As for singing, it was very spontaneous, without any formal training. I just sang what I felt, without ever really wondering whether it was good or bad. It was just what I felt.”

Her skill as a percussionist was confirmed in 2010 when Brenda won the Bata drum competition at the Fiesta del Tambor in Havana, and she was subsequently endorsed by Canadian cymbal-maker, Sabian, as well as the Gon Bops percussion company. She has played on the recordings of many notable Cuban artists, and Brenda recently guested on batá and vocals on Contumbao, the upcoming album from Cuban-Canadian pianist/composer Hilario Duran.

Brenda Navarrete’s focus is now firmly set on Mi Mundo. This beautiful expression of her musical universe is now going out into the world, and it deserves your close attention.

introduces a shining new star on the world music firmament. This is the solo debut of Brenda Navarrete, a Cuban-based singer, songwriter, percussionist and bandleader of rare skill and musical originality.

She has previously made an impact singing in the internationally-acclaimed Cuban group Interactivo, performing at clubs and festivals in the U.S. and Canada, but she now takes a giant creative leap forward with Mi Mundo. Set for worldwide release on ALMA Records in January/18, the album was recorded in Havana with producer Peter Cardinali (ALMA’s founder), award-winning engineer John “Beetle” Bailey, and an all-star cast of Cuban instrumentalists.

“Being able to record Mi Mundo in Havana is a dream come true,” Brenda explains. “Havana is where I was born. Cuba is my country, my homeland, and having the opportunity to record here with musicians who know me and who understand my musical style is amazing. The energy of Cuba and Havana is very important to me, and I think that we have captured that force on this album”.

The stylistically eclectic album features a variety of group settings, with the primary instruments consisting of drums, piano, electric bass and percussion, including batá and congas played by Navarrete. Renowned special guests include Horacio ‘El Negro’ Hernandez, Rodney Barreto and Jose Carlos on drums, Roberto Carcasses, Rolando Luna and Leonardo Ledesman on piano, Alain Perez on bass (he also arranged several of the songs and wrote “Taita Bilongo”), Adonis Panter on quinto and Eduardo Sandoval on trombone.

Brenda’s initial musical reputation centered on her ability as a percussionist, on batá, but it is her warm and fluent voice and songwriting ability that take centre stage on Mi Mundo. Four of her original compositions appear on Mi Mundo, including “A Ochun.” “That song is very special to me,” says Brenda. “It was my first composition and one of my first recordings. Ochun is the goddess of love and it’s a song that I wrote while sitting on the bank of a river, where Ochun is said to live. Most of the song came out that first day and I finished the arrangement at home and dedicated it to her when it was recorded.

A genuine highlight on an album devoid of lowlights, “A Ochun” is a dynamic and delightful treat that begins with percussion and call and response vocals, which then fade away in favour of gentle piano and flute stylings.

Navarrete describes Mi Mundo as “a World Music record, with an Afro-Cuban flavour. I chose that title because this is a reflection of my musical world. I have a tremendous range of influences, having grown up in a very musical environment.

“When I was a little girl, my sister and I loved to listen to jazz greats like Sarah Vaughan, Ella Fitzgerald and Billie Holiday. I also gravitated to artists like Nat King Cole, John Coltrane, Bobby McFerrin, Miles Davis, Yellow Jackets and Cassandra Wilson, but also BoyzII Men and Take 6. My home environment also featured music from great Cuban artists like Cecilia Cruz, Benny More and Celeste Mendoza.

“All those artists and musical styles have contributed to my musical growth since I was a child. All of that energy and the different rhythms, colours and styles of Afro-Cuban, Latin Jazz and World Music have inspired me as a composer. I adore Cuban music, and mixing all of those styles together with traditional Cuban music is powerful and exhilarating.”

An example of this original and compelling fusion is “Caravana,” Brenda’s distinctive take on the Duke Ellington classic “Caravan.” “Rumbero Como Yo” is full and powerful, featuring six musicians imparting an intoxicating rumba feel, while “Taita Bilongo” is an infectiously rhythmic number boosted by trumpet and a guest male vocal appearance by the song’s composer, Alain Perez. Another sparkling gem on Mi Mundo is “Anana Oye.” Featuring bubbling bass, rollicking piano, breezy flute, and strong backing vocals and percussion, its seductive melody will transport you to a warm and carefree place.

Navarrete’s formal musical education included studying percussion at the Amadeo Roldán Music Conservatory in Havana. “I was trained in symphonic and Cuban percussion on a variety of instruments, as well as piano,” she recalls. “I also studied the history of universal music, Cuban music and music theory, but learning batá was more of a street classroom experience along the way. As for singing, it was very spontaneous, without any formal training. I just sang what I felt, without ever really wondering whether it was good or bad. It was just what I felt.”

Her skill as a percussionist was confirmed in 2010 when Brenda won the Bata drum competition at the Fiesta del Tambor in Havana, and she was subsequently endorsed by Canadian cymbal-maker, Sabian, as well as the Gon Bops percussion company. She has played on the recordings of many notable Cuban artists, and Brenda recently guested on batá and vocals on Contumbao, the upcoming album from Cuban-Canadian pianist/composer Hilario Duran.

Brenda Navarrete’s focus is now firmly set on Mi Mundo. This beautiful expression of her musical universe is now going out into the world, and it deserves your close attention.

UB40 Featuring Ali, Astro & Mickey 'A Real Labour Of Love' The New Album Released March 2nd On UMe

'A Real Labour Of Love' is the new album from UB40 Featuring Ali, Astro & Mickey, to be released March 2nd on UMe. As founding members of Britain's biggest reggae band UB40, singer Ali Campbell, second vocalist Astro and keyboardist Mickey Virtue topped the UK singles chart on three occasions and sold 70 million records as they took their smooth yet rootsy musical blend to all corners of the globe. Now with 'A Real Labour Of Love' the trio give us a fresh take on the legendary series of albums, putting the focus primarily on reggae tracks from the 1980s.

  

"The first three albums featured the songs we grew up listening to," says Ali. "This one is built around the records we were listening to once UB40 were on the road."

Between 1983 and 1998 UB40 produced three 'Labour Of Love' albums, bringing hits such as Eric Donaldson's 'Cherry Oh Baby', Lord Creator's 'Kingston Town' and Johnny Osbourne's 'Come Back Darling' to a new, global audience. They also topped the charts on both sides of the Atlantic with their reggae cover of Neil Diamond's 'Red Red Wine'.

And now 20 years later Ali, Astro and Mickey are revitalizing the concept by exploring the tunes of a later golden age, 'A Real Labour Of Love' sees the group explore the songs that defined reggae in the Eighties. The concept isn't a rigid one: Stevie Wonder's 'A Place In The Sun' is a Motown classic from 1966, and there are numbers from the late Seventies in Dennis Brown's sublime 'How Could I Leave' and Culture's 'International Herb'. But most of the tracks on 'A Real Labour Of Love' are from the Eighties, a decade that saw dancehall reggae enter the mainstream.

"We were spending more time in Jamaica and some of these numbers are the ones we'd hear on the radio and out in the streets," says Astro. "The singers of these songs were our heroes. They are quintessential reggae artists."

The new album builds confidently on the momentum gathered in the five years since Astro rejoined singer Ali and keyboardist Mickey in 2013. They have released two acclaimed albums, 'Silhouette' (2014) and 'Unplugged' (2016), their first acoustic album and their first release with UMG.

Recorded and mixed at Dean Street and RAK Studios, 'A Real Labour Of Love' was produced by Ali, whose instantly recognizable voice is augmented by the 'sing-jay' vocal style of Astro. The latter takes the lead on six of the album's 16 tracks, placing the two singers at the helm of an 11-piece band. Sadly, 'A Real Labour Of Love' also marks the passing of long-serving trombonist John Johnson. A former member of Simply Red who joined forces with Ali seven years ago, John played on the album but passed away the night before the rest of the group were due to play a benefit concert to raise money for his cancer treatment. The album is dedicated to him.

The unique artwork for 'A Real Labour Of Love' by celebrated American contemporary artist Mark T Smith was specially commissioned for the release. A first edition print, signed by the artist and the band, is being auctioned with proceeds going to the Teenage Cancer Trust, details to follow soon.

The group are now looking forward to taking their new album on the road, with UK festival appearances lined up for the summer and a UK arena tour in the pipeline for 2019. Given the massive success of the trio's last 'Labour Of Love' outing, a 2016 tour that featured sold-out shows at the O2 Arena in London and the Barclaycard Arena in Birmingham, there is bound to be a huge appetite for 'A Real Labour Of Love'.

"The reaction to that tour was fantastic, and every show was a sell-out," says Ali. "Now we're ready to do it all again. We knew most of these songs back to front before we began recording A Real Labour Of Love, so the challenge was to make them our own rather than copying the originals."

'A Real Labour Of Love' Track Listing:

1.Making Love

2.She Loves Me Now    

3.Strive      

4.Here I Come     

5.Telephone Love/Rumours    

6.How Could I Leave     

7.Ebony Eyes     

8.Hush Darling

9.Hard Times       

10.Moving Away  

11.International Herb     

12.A Place In The Sun

13.Tune In  

14.Once Ago       

15.In The Rain     

16.Under Me Sleng Teng

Official website: http://ub40.org

NEW RELEASES: THE COMMOTIONS – VOLUME II; ALEX PUDDU – FROM THE BEGINNING; JOHN SURMAN – INVISIBLE THREADS

THE COMMOTIONS – VOLUME II

It’s no questions why The Commotions have been dubbed “ones to watch”: the Canadian jazz / soul / funk collective savvily command every room they play, drawing in audiences with their sizzling brass section, thumping backbeat, and sensitive ballads. This performance prowess means that, as one of Canada’s resident big bands, they have sidestepped the lightweight pop craze and taken the back roads straight into the hearts of their loyal fans, earning unwavering support from the true lovers of genuine, unsullied soul music. Known as the 12-piece collective of sharply dressed, incredibly talented musical artists they are, The Commotions revel in their original throwback to the days of Motown. Their Fall 2017 full-length album release Volume II continued this musical quest by providing epic, sparkling, catchy and uncommonly skilled songs that, as Musical Director Brian Asselin explains, are about reclaiming the spirit of soul. “Soul is the music of the people,” Asselin says. “If you look at all the iconic soul performers like Marvin Gaye or even the Temptations or the Supremes, they were documenting what was happening in the world. “Soul music spoke to that. We are trying to do that today.” Already featuring the likes of Rebecca Noelle (Soulstice, Quebec’s version of “The Voice” — “La Voix”) and Jeff Rogers (The Cooper Brothers) — plus musical director, producer, songwriter, and tenor sax ace Brian Asselin — Volume II’s impressive and lengthy roster of guest features includes, among others, Philosopher King’s Jarvis Church, MonkeyJunk’s Steve Marriner, and Juno-nominated Petr Cancura. The Commotions originally united to prived a Canadian contingent to Funk Brother’s (Motown Records) lead vocalist Delbert Nelson as “Delbert & The Commotions”. The band’s Musical Director Brian Asselin honed his skills performing with acts such as The Funk Brothers, and his original music has been featured on HBO’s “Looking” and ABC’s “The Fosters” in the U.S.

ALEX PUDDU – FROM THE BEGINNING

Alex Puddu's going right back to the beginning here – serving up some tight, sharp sounds that are very much in the 70s funk mode that first gave him inspiration! And this time around, he's got Lonnie Jordan from War on board – singing on three of the album's great tracks – which helps bring a bit of classic Chicano funk to the mix! Other tunes feature vocals from singers Adrian Wilding and Duane Hobson, and the album also features some great instrumentals too – all with a groove that comes from Puddu's own work on drums, bass, and guitars – in a combo that also includes vibes, congas, tenor, and some sweet electric piano and organ. Titles include "Here For A Change", "Step On Your Ego", "Runaway Boys", "Ocean Drive", "Here For A Change", "Wild Saxophone", "Don't Stop Moving", "Cobra", and "Stormy Weather".  ~ Dusty Groove

JOHN SURMAN – INVISIBLE THREADS

Invisible threads of sound from reedman John Surman – heard here in a group that's got an especially great sound – as it features piano from Nelson Ayres and a mixture of vibes and marimba from Rob Waring! Surman's always great, but he's sometimes got an icier edge on ECM – which is definitely not the case here, as he blows between the ringing tones of the vibes and piano – a really unusual mix for a trio date like this, and one that fills the music with these warm chords that are wonderful. Surman blows soprano, baritone, and bass clarinet – and there seems to be a beautifully equal balance between the players in the creative process – on titles that include "On Still Waters", "Within The Clouds", "Autumn Nocturne", "At First Sight", "The Admiral", "Pitanga Pitomba", "Summer Song", and "Stoke Damerel". ~ Dusty Groove

Common, Robert Glasper & Karriem Riggins Announce New Group August Greene

Golden Globe, GRAMMY, Academy Award winning activist, actor and artist Common, four-time GRAMMY Award winning pianist/producer Robert Glasper, and drummer/producer extraordinaire Karriem Riggins announce the formation of their new group August Greene. The band’s debut self-titled, Amazon Original album will be released on March 9th.

Today, the first single “Optimistic” featuring Brandy premiered at NPR Music, who said “[Brandy's] voice has aged like the finest of wines, layering harmonies all over Glasper's signature keys and Riggin's rapid drums... Common's bars serve as the proverbial cherry on top while a choir lends a hand to close the jam out.”

Stream “Optimistic (feat. Brandy)” via Soundcloud:

https://soundcloud.com/amazon-music/optimistic-ft-brandy-august-greene/

In 2017, the three collectively won the Emmy for Outstanding Original Music and Lyrics on the strength of their song “Letter to the Free,” which was recorded for Ava DuVernay’s documentary 13th. The longtime friends and musical collaborators felt the time was right to release music from August Greene, which has themes of optimism and black excellence. They have found a sound that does not solely fit into one genre, but is truly an invigorating hybrid of R&B, hip-hop, and jazz.

“August Greene actually formed before we chose a name, before we even knew it was a band,” says Common. "Karriem, Rob and I go back many years. It was something natural. When I started working with them it was like, ‘man, this feels like home,’ and it felt new and fresh. We love working together. The music takes us all to new places and it just feels like, everything I want to be as a musician is within the group of August Greene.”

August Greene will make their live debut at New York City’s Highline Ballroom on January 26th for Robert Glasper’s sixth annual GRAMMY Joint.

 

New from Jazz guitarist Chris Standring “Sunlight” featuring appearances by Bob James and Mica Paris

Much like a prism refracts light into a colorful spectrum, guitarist Chris Standring’s “Sunlight” reflects rays of multihued jazz into a vibrant sonic palette of joy and positivity. The Los Angeles-based, native Brit will drop his twelfth album on March 23 on the Ultimate Vibe Recordings label, marking the twentieth anniversary since the release of his debut disc (“Velvet”). Paving the way for the new collection penned and produced by Standring is the jaunty “Love Street,” set to cast an alluring spell as the first radio single.   

Diverse strains of jazz reign on “Sunlight” with Standring’s clean electric jazz guitar shining brightly throughout the ten tracker plus a reprise that closes the session. The prevailing sounds and engaging textures create warm, organic backdrops for his nimble fretwork forays that traverse lush rhythms and grooves. Wave after wave of Fender Rhodes keyboards and Hammond B3 organ wash over the taut beats serving as the rhythmic spine. Vintage elements offer a compelling contrast to the imaginative electronic nuances, deftly making the recordings feel retro, futuristic, experimental and visionary all at the same time while Standring’s cool-toned guitar slices through to the fore cranking out nifty licks, precision fills and impassioned melodic sojourns.       

Helping flush out his vision for “Sunlight,” Standring shares the spotlight with contemporary jazz forefather Bob James (piano) on the stratospheric exploration “The Revisit” and UK soul-pop chanteuse Mica Paris on the lusty R&B, jazz and electronic hybrid “No Explanation,” the latter a tune he wrote with seven-time Grammy nominee Lauren Christy. Also lending their artistry to the platter are noted saxmen Pete Christlieb and Brandon Fields, keyboardists John Novello, Mitchel Forman and longtime collaborator Rodney Lee; bassists Jimmy Haslip, Andre Berry and Roberto Vally; and drummers Chris Coleman and Dave Karasony.

“For the first time, I feel a huge degree of comfort stylistically. ‘Sunlight’ seems to be a much more refined version of who I am. Musically, I can't shake off who I am. It just is. It's a fusion of my traditional be-bop background with infectious soul and funk grooves, and a sense of arranging and orchestration that comes very easily now. My influences are not from my contemporaries. They come from orchestral music, traditional jazz and European chill, lounge and progressive club music plus a good dose of R&B. It's a weird mix, but I guess that's what results in everything sounding like me when it all comes together,” said Standring who purposely infused the set with uplifting notes of hope and glee.

Perhaps a commentary on our times or just a thoughtful embrace of a longtime personal favorite, Standring reimagines Brian Wilson’s “God Only Knows” as a serene guitar meditation. 

“The album is upbeat and joyful for the most part. Perhaps it is somewhat reactionary to these challenging times we are presently living through, but I am inherently a positive soul who tends to see the bright side of things, albeit with a touch of British cynicism. Sunlight represents positivity and joy to me, hence the title.”

Standring celebrated three No. 1 singles in 2017: his solo hit “Like This, Like That,” and duet collaborations with trumpeter Cindy Bradley (“Category A”) and two-time Grammy-winning producer-guitarist Paul Brown (“Piccadilly Circus”). The classically-trained guitarist’s ambitious catalogue of instrumental R&B, soul jazz and electronica includes his hit debut single, “Cool Shades”; the No. 1 Billboard Contemporary Jazz Track of the Year in 2010, “Bossa Blue”; and a 2014 Billboard No. 1 single, “Sneakin’ Out the Front Door.” Coming to the U.S. after a lengthy and prosperous run at the BBC and on London’s West End in theatrical orchestras, Standring was a session ace who recorded with Jody Watley and Bebe & Cece Winans among many others. He partnered with Lee to form the acid jazz outfit SolarSystem before touring extensively backing trumpeter Rick Braun. Standring issued “Velvet” soon after, launching his solo mission that continues to climb in trajectory and scope.         

     

“Sunlight” contains the following songs:

“Static In The Attic”

“Aphrodisiac”

“Love Street”

“The Revisit” featuring Bob James

“No Explanation” featuring Mica Paris

“God Only Knows” featuring John Novello

“Like Paradise”

“Moon Child”

“Do Not Adjust Your Set”

“The Principle Of Pleasure”

“Static In The Attic (Reprise)”

http://www.chrisstandring.com

Jazz in the (Miami) Gardens Music Festival Announces 2018 Line Up

The City of Miami Gardens announces the highly anticipated 2018 artist lineup for its 13th annual Jazz in the Gardens (JITG) music festival, the signature event for this vibrant community. On March 17-18, 2018, fans will again experience the ultimate festival event featuring the world's top artists from the R&B, soul, jazz, hip-hop, and funk genres.

Hosted by nationally syndicated radio personality, Rickey Smiley, JITG will present this world class line up to an anticipated 70,000 attendees at the Hard Rock Stadium located at 347 Don Shula Drive, Miami Gardens, FL 33056.

Gracing the stage is the incomparable Chaka Khan and the soulful voices of Grammy award winning songstresses Anita Baker and Fantasia. Iconic soul legend Smokey Robinson makes his first ever Jazz in the Gardens appearance, along with gospel sensation Tasha Cobbs Leonard. Back by popular demand are The Jazz in the Gardens All Stars with this year's lineup including Pieces of a Dream, Walter Beasley and Avery Sunshine. Other artists include Trombone Shorty & Orleans Avenue and Joe

Rounding out JITG, guests will enjoy an array of American and Caribbean cuisine, and indulge in a unique shopping experience with a marketplace of artwork, handbags, clothing and memorabilia.

Website: www.jazzinthegardens.com 

Facebook: http://facebook.com/jazzinthegardens 

Twitter: http://twitter.com/jazzgardens 

Instagram: http://instagram.com/jazzgardens

GRAMMY-NOMINATED JAMISON ROSS DELIVERS ALL FOR ONE ON JANUARY 26, 2018

Whereas Jamison Ross’ GRAMMY®-nominated, vocal-heavy 2015 debut disc, Jamison shocked some listeners who knew him primarily as a drummer, especially after he won the 2012 Thelonious Monk Institute of Jazz International Drum Competition, his sophomore disc, All For One, scheduled for release on January 26, 2018 via Concord Jazz, will surely solidify his reputation as one his generation’s brightest vocalists and drummers. WBGO.org has the track premiere for “Don’t Go to Strangers” here.

All For One boasts a cast of musicians of whom Ross has developed a strong rapport from touring – pianist Chris Pattishall, guitarist Rick Lollar (both of whom played on the 2015 debut), bassist Barry Stephenson, and Cory Irvin on Hammond organ and Fender Rhodes. Ross is particularly enthusiastic with the addition of Irvin on the organ because he likens that instrument to an orchestra that would accompany jazz singers like Frank Sinatra or Billie Holiday. “When I first added the organ in my band, I was inspired by Marvin Gaye’s 1964 LP, When I’m Alone I Cry,” Ross explains. “[On that album] he sings jazz standards with a full orchestra. The organ is like my orchestra. The way I use the organ is a very calculated form. It produces the atmosphere throughout the record. And that parallels with how I grew up in church. The organist pulls the emotion out of every tune.”

The disc perfects the intoxicating chemistry of the 29-year-old’s debut, which intermingled blues, jazz, R&B and soul effortlessly. “All For One is literally the second chapter,” Ross explains after comparing the success of his debut and the world tour in support of that album as a “whirlwind of smiles and gratitude.” “There’s no deep way to view All For One other than it being the second chapter of me revealing myself as a man who loves as a father, husband, friend, and brother and as an artist who brings that love to other people while receiving love from my audience.”

For sure, love is a recurring theme on All For One as the material touches on both the romantic kind and the socio-political aspect of love that calls for unity among a diverse and, at times, a divisive community. The album also finds the Jacksonville, Florida born and now New Orleans-based Ross plowing into the rarefied areas of blues and R&B that seldom gets investigated by his peers.

Ross begins the disc with mighty shout out to the Crescent City’s R&B legacy with the vivacious make of “A Mellow Time,” a 1966 tune written by Allen Toussaint and made famous by Lee Dorsey. “I’m the biggest Lee Dorsey fan and I’m a huge Allen Toussaint fan,” Ross enthuses. “A lot of tunes like this taught me how to write. I want to write songs that have stories inspired by love.

The title track – “All For One” – is another Big Easy-based song; it’s a rare groover written and recorded in 1993 by Wilson Turbinton, better known as Willie Tee. The lyrics’ plead for love takes on both amorous and socio-political overtones that spills over to other songs on the album, such as Ross’ splendid rendition of Mose Allison’s 1968 classic, “Everybody’s Cryin’ Mercy.” “It’s a rough time in America. It’s that simple,” Ross explains. “I know a lot of Mose Allison’s music. I like the way that he could talk the blues. He didn’t sing the blues; he talked the blues. That song has such a pivotal message for where we are right now as a nation.”

Fats Waller’s 1936’s “Let’s Sing Again,” which closes All For One is another old-school gem. On Ross’ makeover, his sanguine singing soars atop of Irvin’s churchy organ accompaniment – a strategic move that tips its hat pays to Waller’s church roots in New York as well as Ross’ background in Jacksonville, Florida, where he grew up singing in his grandfather’s church.

Ross also delves into jazz standards on All For One with his haunting reading of “Don’t Go to Strangers,” a ballad written by Arthur Kent and Dave Mann and made famous in 1960 by Etta Jones, and his alluring version of Ira Gershwin and Kurt Weill’s 1941 classic, “My Ship,” which gains a subtle country vibe thanks for Lollar’s guitar yawns. “I don’t do a lot of jazz standards. The covers that I do come more from the obscure blues realm,” Ross says. “But I honestly love singing ‘Don’t Go to Strangers.’ I sang it at NPR’s Jazz Night in America tribute to Rudy Van Gelder Concert. That song taught me a lot about phrasing, which I used on ‘My Ship.’”

All For One contains some exquisite originals too. The gentle, blues-tinted ballad “Unspoken” is a song Ross penned for his wife, Adrienne, to express his enduring love for her while he’s on the road. The jaunty “Call Me” is another original written with Ross’ wife in mind. The backstory of “Call Me” involves his wife phoning him while he was in the middle of crafting an infectious boogaloo drum groove. Instead of getting frustrated by the interruption, Ross allows the phone call from his wife to become an inspirational force. Ross dedicates the melancholy “Away” to his daughter, Jazz Aubrielle as he conveys missing her while he’s constantly on the road and reminding her that his love for her is unending.

The soothing bossa nova, “Safe in Arms of Love,” co-written with Lollar and Joshua Starkman, and the somber, wordless vocalese ballad “Tears and Questions” find Ross turning his attention back to more socio-political issues. Both songs were written while he was touring Australia with Nicholas Payton then receiving news of the 2016 police killing of Alton Sterling in Baton Rouge.  Ross’ soul-infused “Keep On” offers encouraging balm in the face of tragic upheaval.

Besides the wordless “Tears and Questions,” All For One contains no instrumentals like its predecessor; nor does it explicitly showcases Ross’ virtuosity as a drummer. “I started touring and playing on a constant basis with my band. That didn’t happen before I made my first record,” Ross explains. “So playing instrumentals was part of my development then. I feel now, I don’t have to prove that I can play instrumentals anymore nor do I have to prove my drumming skills. Recording instrumentals is not indicative to what my artistic concept has grown into.  This album is a result of a personal revelation that we all have the capacity to love with empathy in a deeper way.  The love you need comes from me and the love I need comes from you.  All for one, one for all.”