Friday, May 11, 2018

NEW MUSIC - EDDIE PALMIERI - SABIDURIA; DOMENICO LANCELLOTTI - THE GOOD IS A BIG GOD; BEADY BELLE - DEDICATION


EDDIE PALMIERI - SABIDURIA

Eddie Palmieri’s influence on the world of modern music is often celebrated, but just as often underestimated. As he completes his 80th year with us, his energy and commitment seem to be increasing, as if to fully emphasize the power of not just the music but also the cross-cultural importance of the process. With no sign of slowing, Mr. Palmieri is the elder of a global culture of musicians, actively teaching young students and leading the way for the next generation. And now Mr. Palmieri brings to the world his first project since his back to back Grammy wins in 2005/2006 - Sabiduría. Sabiduría is the Spanish word for “wisdom”, and the message is clear from the outset that wisdom is the exalted value that should guide us all. His intent with Sabiduría, as it has been with all of his recordings, is to create art that will be analyzed and understood well beyond his time.

DOMENICO LANCELLOTTI - THE GOOD IS A BIG GOD

You've heard Domenico before as part of the groundbreaking +2 trio with Kassin and Moreno Veloso – but this is only the second time the singer has worked on his own, and the first that he's given us his full name on the cover! That difference might mark a new sort of confidence in Domenico – a way of putting forth his careful songwriting genius with a bit more dexterity, which certainly gets a bit of assistance in the album's work by Sean O'Hagan and Kassin! If you've ever liked Domenico before, you'll totally love him here – and if this is your first time discovering his music, then get ready to go backwards – as the strength of this album will win over your ears, and send you searching for all the other wonderful music he's given us over the years. Titles include the very dreamy title cut "The Good Is A Big God" – plus "Insatiable", "Serra Dos Orgaos", "Voltar Se", "A Alma Do Vento", "Terra", "Logo", "Dama Da Noite", "Shanti Luz", "Arvores", and "pare De Correr". ~ Dusty Groove

BEADY BELLE - DEDICATION

Beady Belle never lets us down – and even though the lady's been making music for well over a decade, she still turns out some of the most consistently thoughtful soul we can think of! Forget the fact that the singer's on a Norwegian label, as the lyrics here are all in English, backed by warmly jazzy instrumentation that's always made Beady's music hugely popular with our customers for American neo-soul – and which puts her in the same territory as other classic "in the know" artists, such as Monday Michiru or Incognito! The keyboards are especially nice this time around – as thoughtful as the lyrics and the vocals – and titles include "I Run You Ragged", "Hold Your Breath", "Traces", "Dedication", "Waste Of Grace", "Last Drop Of Blood", "Can You Smile", and "Out Of Orbit". ~ Dusty Groove


NEW MUSIC: IDRIS ACKAMOOR & THE PYRAMIDS – ANGEL FELL; SOIL & PIMP SESSIONS - DAPPER; KASSIN - RELAX


IDRIS ACKAMOOR & THE PYRAMIDS – ANGEL FELL

Saxophonist Idris Ackamoor is a living jazz legend – but not the kind that's stale and stuffy, and instead a continuously vibrant player who's given us mindblowing music since his initial recordings with his Pyramids group in the 70s! This version of the Pyramids is different than that one, but they represent a continuing evolution of Ackamoor's rich spirit – his way of fusing spiritual jazz currents with global rhythmic inspirations – but all without every sounding as hokey as so many others who try for that space, and just fall flat! There's a sense of power and inspiration to Ackamoor's music that still moves us tremendously – and which, today, seems more urgent than ever – especially as Idris has seemed to set a new fire under his talents in the past decade or so, obviously more motivated by the need for social change than in his projects of more recent decades. The album's a mix of vocals and instrumentals – but the vocals are often more chant-like, or handled by the ensemble – at a level that further deepens the spirit of the sound. Titles include "Land Of Ra", "Papyrus", "Soliloquy For Michael Brown", "Message To My People", "An Angel Fell", "Tinoge", and "Warrior Dance".  ~ Dusty Groove

SOIL & PIMP SESSIONS - DAPPER

This great Japanese combo are maybe even more dapper than usual here – still strongly tied up in their tradition of hard-hitting jazz, but also opening the door for work from some guest soul singers and MCs! Leader Shacho is usually the "agitator" in the group – calling out the performances from the players – but this time around, he's more of the music director and songwriter – working in collaboration with the singers when they appear – in a lineup that features work from Nao Kawamura, Yojiro Noda, Shun Ikegai, Ego Wrappin, and Awich. Make no mistake, the instrumentation is as fantastic as ever – maybe even more so, as the group feel leaner and tighter – with some especially fantastic bass, trumpet, and keyboards. Titles include "A New Day", "Heaven On Earth", "Deform Reform", "Comrade", "Drivin", "Dusk", "Drifter", and "Pride Fish Ball". ~ Dusty Groove

KASSIN - RELAX

We admire the hell out of Kassin, but it's hard to imagine that we'd relax when faced with a new record of his – as we always pay fervent attention to everything he ever does! And this time around, that attention is rewarded even more than usual – as the musician and studio genius emerges a bit more from the background than usual – finally putting his face on the cover (sort of!), and really showing off his talents as both a singer and songwriter! Yet as with all of Kassin's other work – including his famous collaborations with Domenico and Moreno Veloso, his time in Orquesta Imperial, and his projects with bigger names in Brazilian music – there's always this understated quality that makes the whole thing even more charming than if Kassin was overstating his talents. Kassin is one of the few contemporary Brazilian artists to really live up to the genius of the golden years that gave us talents like Marcos Valle, Edu Lobo, or Caetano Veloso – and his sense of songwriting, presentation, and overall structure here is wonderful – making the album an instant classic in Brazilian music. Titles include "Seria O Donut", "Comprimidos Demais", "Estricnina", "Momento De Clareza", "O Anestesista", "Su Sugestao", "Enquanto Desaba O Mundo", and "As Coisa Que Nos Nao Fizemos". ~ Dusty Groove


NEW RELEASES: K. AVETT – LIONESS; GRANT GREEN – FUNK IN FRANCE: FROM PARIS TO ANTIBES 1969-1970; TONY RODRIGUEZ – AT LAST


K. AVETT – LIONESS

A great soul singer, and one with a very positive vibe – a sound that maybe grabs us the same way we felt when we first heard Jill Scott – and that's saying a heck of a lot! As you might guess from the title, K Avett's a singer who's not to be taken lightly – yet while her message may come on with the roar of a lioness, her sound is also warmly human – never too smooth, but with a great sense of flow that makes her overall sound as seductive as her lyrics! And despite all this hype, there's also a relatively understated quality to the record – which really helps it keep its charms and focus its energy through the entire set – on titles that include "Feelin Good", "Lioness", "Confusion", "Soldier", "In My Life", "Time Won't Wait", "The Matter", and "Down". ~ Dusty Groove

GRANT GREEN – FUNK IN FRANCE: FROM PARIS TO ANTIBES 1969-1970

Beautiful rare work from the late 60s years of Grant Green – a time when the guitarist was giving us some of his funk classics on Blue Note, and when he really seemed to be opening up his groove! That's definitely the case here – as the tracks aren't just funky, but also spin out at nicely long lengths – first on a set of tracks recorded for radio in Paris in 1969, with Green on guitar, Larry Ridley on bass, and Don Lamond on drums – working in a trio mode with a very different vibe than Grant's earlier work. Barney Kessel joins on second guitar on the tune "I Wish You Love", and other tracks include "I don't Want Nobody To Give Me Nothing", "Oleo", and "Untitled Blues". The second two thirds of the record are even more unbridled – and feature long live performances from the 1970 Antibes Festival – with a cool quartet that features Claude Bartee on tenor and Clarence Parker on Hammond. All tracks are well past the 10 minute mark, most pushing 20 – and titles include two versions of "Upshot", plus "Hi Heel Sneakers" and "Hurt So Bad". (Hand-numbered limited edition – on 180 gram vinyl pressed at RTI!) ~ Dusty Groove

TONY RODRIGUEZ – AT LAST

After several years of leading the backing bands of star Cuban acts such as Havana D’Primera, Isaac Delgado and Carlos Varela, Tony Rodriguez - the pianist, composer, arranger and producer - has finally let loose his creativity in the form of the jazz album At Last.  For the recording of the album he locked himself away in the Abdala Studios in Havana for three days together with some of the best jazz musicians in Cuba, such as the percussionist Oliver Valdes, the saxophonist Carlos Miyares, the bassist Yandy Martinez and the trumpeter Alejandro Delgado. The five of them recorded seven jazz instrumentals together live in the studio, with melodies and elements that draw comparisons to cool jazz and hard bop.


Saxophonist Dave McMurray Makes Blue Note Records Debut with Detroit-centric Album, Music Is Life


Dave McMurray’s Blue Note Records debut, Music Is Life, is a reunion of sorts, given the long history the saxophonist shares with the label’s president, and fellow Detroit native, Don Was. McMurray was a member of Was’ genre-defying unit Was (Not Was), first working together on the band’s self-titled 1981 debut. He’s played on all of the band’s albums and many other Was produced projects in the years since.

When Was signed McMurray to Blue Note, the saxophonist says that he gave him no imperatives as to which artistic paths to take. “It was one of those situations in which he just said, ‘Do it,’” McMurray explains.

“I know Dave’s playing really well. He doesn’t bullshit,” Was praises. “He’s never playing licks for the sake of playing licks. He’s not trying to impress people with what all he knows about music or about his dexterity over the instrument. It’s all about honest expressions.”

McMurray proceeded by gathering a batch of strong originals and well-chosen rock and R&B staples then recruited musicians – bassist Ibrahim Jones and drummers Ron Otis and Jeff Canady – with whom he’s forged longstanding rapports. With minimum keyboard and string accompaniments on a few tunes, the music boasts an open, rugged sensibility that optimizes the leader’s burly tone and swaggering lyricism.

McMurray has cemented his reputation for versatility by playing with a vast array of musicians that include B.B. King, The Rolling Stones, Bob Dylan, Iggy Pop, Patti Smith, Bonnie Raitt, Johnny Hallyday, Gladys Knight, Albert King, Nancy Wilson, KEM, Bootsy Collins, Herbie Hancock, Geri Allen, and Bob James. McMurray sounds as assured and inspired in a rock, R&B, funk, pop or folk setting as he does playing hard bop.

McMurray consolidates all of those aforementioned idioms on Music Is Life, creating a cohesive program of groove-based modern jazz that bristles with unalloyed soul. “I wanted it to have the spirit of a funk record,” he says, before rejoicing in the freedom afforded by having minimum chordal support. “I can just hold the melody down or go anywhere else in these songs.” Case in point, the joyous title track “Music Is Life (Live It),” which serves as his personal mantra.

McMurray attributes his saxophone sound and improvisational approach to growing up in Detroit. “Every time I hear an instrumentalist from Detroit play, it feels like they are singing. I don’t care if it’s Yusef Lateef, James Carter or Kenny Garrett. All of those saxophonists incorporated incredible technique too. But they had this singing quality in their playing. I think people hear that and connect with that aspect of it,” McMurray says.

“Dave absorbed a wide range of musical styles, which I think is something that’s consistent with Detroit musicians,” Was says. “You can trace it back to the boom of the auto industry after World War II. Workers not only from all over the country but from all over the world came to work in the auto plants. And they brought their cultures with them. There were so many different styles of music that you could hear; Detroit has such an eclectic blend of influences that I think what you find in music that comes out of Detroit is this genre-busting type music.”

For sure, McMurray stands on Detroit’s mighty music legacy that includes the influential Motown sound, P-Funk, numerous rock acts such as Stooges and the MC5, electronica-music pioneers Carl Craig, Moodymann and Theo Parrish; and hip-hop icons – J Dilla, Eminem and Slum Village. And let’s not forget the legion of jazz artists from Detroit that include Elvin Jones, Betty Carter, Milt Jackson, Regina Carter and Geri Allen.

In some ways, Music Is Life functions as much as celebration of Detroit as it does a reunion for McMurray and Was. “Bop City D” is a burning hard bop number that tips its hat to the Motor City, while the album’s closer, “Turo’s Dream” is a tribute to the memory of one of McMurray’s best friends that he met in elementary school. Other noticeable Detroit references come by way of covers of songs by artists with connections to the city – George Clinton’s funk anthem “Atomic Dog” and the White Stripes’ rock hit “Seven Nation Army.”

McMurray’s hard-hitting “Naked Walk” opens the set. Distinguished by stabbing riffs and a strutting melody, animated by fiery hollers and wails, the song has long been in the saxophonist’s songbook and is frequently played as a crowd-pleasing encore. The album’s other bracing originals include the brooding “After the Storm,” the snapping, hip-hop-centric “Freedom Ain’t Free,” the prowling “Time #5” – which is a part of McMurray’s ongoing “Time” composition series – and the stirring, string-enhanced “Paris Rain,” an evocative homage to one of McMurray’s favorite cities.

Speaking of France, Music Is Life also features a soaring reading of “Que Je T’aime,” a torch ballad that McMurray performed regularly with French rock legend, Johnny Hallyday, who passed away in 2017. “When we played that song live, everybody would be standing up. You’d see guys out there with tears in their eyes while singing along to that song. It was so emotional when he sang it,” McMurray recalls.

McMurray’s journey into music began when he started playing clarinet as kid, and inspired by his older brother’s interest in the saxophone he decided he wanted to learn that instrument, too. He counts seeing Cannonball Adderley perform on The Steve Allen Show as a defining moment in his childhood. While in high school, McMurray attended Cranbook Academy of Arts’ noted summer program, Horizons Upward Bound. He eventually got a scholarship to attend the private school. McMurray furthered his education by attending Wayne State University, where he earned degrees in psychology and urban studies.

While making his way on Detroit’s bustling music scene, McMurray played with the avant-garde jazz ensemble, Griot Galaxy, founded in 1972 by saxophonist Faruq Z. Bey. But McMurray’s catholic taste in music opened the doors for him to explore beyond the realms of jazz. “Any music that I heard – and continue to hear – I can see myself playing it,” McMurray asserts. “It could be rock, jazz, R&B, whatever.” And that’s a good explanation for his multifaceted career.


Thursday, May 10, 2018

OUT OF THE BLUES FINDS BOZ SCAGGS APPLYING HIS ICONIC VOICE AND GRITTY GUITAR SKILLS TO A SET OF VINTAGE CLASSICS


It’s been a life of music – five decades in the case of Boz Scaggs, and spread far and wide with remarkable range in style and influence. From his early West Coast rock and soul bands, through his smooth '70s Hollywood years with hits like "Lowdown" and "Lido Shuffle," to his more recent explorations in R&B, jazz and the Great American Songbook, the versatile singer/songwriter/guitarist has created a highly personal, unfailingly soulful repertoire. The latest edition, Out of the Blues, set for release on July 27, 2018 on Concord Records, finds Scaggs, born in Ohio and raised in Texas and Oklahoma, reconnecting with his earliest musical loves.

This album marks the final piece of an unofficial trilogy for Scaggs, which began with the Steve Jordan-produced albums Memphis and A Fool to Care.  "I'm a child of the '50s," he explains, "and grew up on the music of my parents’ generation - the post war swingers, the Hit Parade era, the semi-classical Gershwin albums and the American songbook of show and film music.  Then came early rock radio; with Elvis, Fats Domino, Chuck Berry and Little Richard, the high-watt late night radio out of Nashville and Chicago and doowop out of the East Coast.  All the same stars that dotted the musical heaven our generation grew up under. Particular to my coming of age in the Southwest was hearing that crazy stuff out of south Texas and Louisiana.  It was something different from that which my fellow teenyboppers in other areas were hearing.  These albums, to some degree, are an exploration of those early influences, tracked through different periods of my experience.”

The self-produced Out of the Blues finds Scaggs applying his iconic voice and gritty guitar skills to a set of vintage classics by such blues greats as Bobby "Blue" Bland, Jimmy Reed and Magic Sam, an unexpected and stirring reading of Neil Young's "On the Beach" and original compositions by the songwriter Jack Walroth.

For the occasion, Scaggs assembled a star-studded studio band including such prestigious players as guitarists Doyle Bramhall II, Ray Parker Jr. and Charlie Sexton, bassist Willie Weeks, drummer Jim Keltner and keyboardist Jim Cox, as well as Boz himself on guitar, bass and vocoder, and longtime friend Jack Walroth on harmonica.

"This project is sort of a manifestation of where I am in my life," Scaggs comments. "I've been doing a lot of shows these last years and have zeroed in on my voice and guitar in a way that only comes with lotsa live.”

"I'm basically a rhythm guitar player, and not that good technically, but I love the instrument and have my own style, one that ranges from seriously ragged to very infrequently bad-ass… At least in my dreams. But it’s the basic blues that have allowed me a foot in the door to a broader range of thrills as a player and inspired me to call Ray and Doyle and Charlie for these sessions.  (I stay, quite naturally, and wisely in the background guitar-wise.)

"We recorded the rhythm tracks in four days, and then I left to go on tour, and I intentionally didn't listen to them until I got home a few months later. From the first playback though, I felt like we'd hit one out of the park."

Out of the Blues also features four songs written or co-written by Scaggs' longtime friend and kindred musical spirit Jack Walroth, a left-of-center bluesman who Scaggs met in the '60s, when both lived in Madison, Wisconsin, and who relocated to San Francisco at around the same time as Scaggs.

"He's a prolific writer, and he's influenced by a lot of the same music that got to me," Scaggs says of Walroth. "I had been interested in producing Jack for many years. During a period back in the '90s, we'd get together on these Tuesday-night sessions with a variety of players and record Jack's songs with the aim of making an album on him.  Trouble was that whenever I'd get a handful of songs to wrap it up he'd come in with another batch. I had several albums worth of tracks, and the album never got done. So when I was searching out material for this album, I realized that I had this backlog of great songs that I really dug and already had a handle on. Out of the songs on this album and its bonus tracks, I recorded seven of Jack’s songs and co-wrote another one with him. Thanks, man."

Scaggs is currently in the midst of a personal musical renaissance. Liberated from the old-school album/tour cycle, he's worked on his own terms this decade to create a series of eclectic, highly personal recordings that showcase his mastery of multiple musical genres, including the jazz standards collections But Beautiful and Speak Low, which topped the Billboard Jazz charts, the soul-inflected Memphis and the bluesy A Fool to Care, each hitting #1 on Billboard's Blues charts.

"Out of the Blues, from its very onset, feels like one of the most special of my career," Scaggs asserts. "It just came so easily, and the sessions fell into place so effortlessly. Sometimes you assemble your dream team and it doesn't work. But in this case, the chemistry was right and it all came together beautifully. It was a complete joy from beginning to end, and I'm really happy with it."


Blue Note Jazz Fest Lineup: Chris Botti, Art Garfunkel, Gregory Porter Al Di Meola, Gordon Lightfoot, The Manhattan Transfer, Eddie Palmieri, Tab Benoit, Sergio Mendes, Robert Cray, Bilal, Southside Johnny & More


With over 100 events in five venues throughout New York City, the 2018 Sony presents Blue Note Jazz Festival will take place June 1-30, 2018. Sony Corporation is the Festival's Official Title Sponsor and INGLOT Cosmetics of Poland is the Presenting Sponsor. Ticket information and a current schedule of events are available on the festival's website, www.BlueNoteJazzFestival.com. Additional performances, venues, and events will be announced in the coming weeks.

Highlights for the eighth edition of the festival include GRAMMY® Award winning trumpeter Chris Botti at the newly opened Sony Hall in Times Square; an intimate evening with American music icon Art Garfunkel at The Town Hall; two-time GRAMMY® Award nominee jazz vocalist Gregory Porter (presented by City Parks Foundation at Central Park SummerStage in association with Blue Note Jazz Festival); jazz fusion guitar virtuoso Al Di Meola; renowned folk singer/songwriter Gordon Lightfoot; a very special 5-night residency with future funk collective Lettuce performing for the first time ever at the historic Blue Note Jazz Club; jazz vocal group The Manhattan Transfer; Latin jazz legend pianist Eddie Palmieri; three-time GRAMMY® Award nominee and revered blues guitarist Tab Benoit at Highline Ballroom; iconic Brazilian producer, composer, keyboardist and vocalist Sergio Mendes; celebrated blues guitarist Robert Cray; GRAMMY® Award winning multi-genre vocalist/musician Bilal performing with Victory (presented by founding festival partner Jill Newman Productions); New Jersey-based rocker Southside Johnny and many more!

This year's Blue Note Jazz Festival features the addition of several new key partnerships marking a new chapter in the festival's history.

Earlier this year, Sony and Blue Note announced a landmark sponsorship agreement resulting in the creation of a new Manhattan venue, Sony Hall, in addition to Sony's title sponsorship of the festival. Located in the heart of New York's Theatre District (235 W. 46th St at the Paramount Hotel), the space was previously known as the Diamond Horseshoe (est. 1938) and is the newest addition to Blue Note's New York City properties, joining this year's festival venue lineup for the first time, expanding its city-wide takeover. The 12,000 square-foot venue is a platform to showcase Sony's new and exciting audio and video technologies. The multi-dimensional audio technology installed in Sony Hall will provide audiences with a groundbreaking immersive music experience that is the first of its kind for a music venue anywhere in the world.

The festival also welcomes INGLOT Cosmetics of Poland for the inaugural year of their multi-year official presenting sponsorship of the event. In celebration of the partnership, Blue Note Entertainment Group and INGLOT will release a limited edition Blue Note-branded cosmetic collection, as well as special showcases of iconic Polish jazz musicians for the festival. Performances include esteemed Polish pianist Wlodek Pawlik and his trio with special guest Randy Brecker on Monday, May 28th as well as acclaimed jazz fusion band Walk Away on Saturday, June 23.

The festival will spread its international reach even further with the addition of the Delegation of the European Union to the United Nations as a supporting partner of the Blue Note Jazz Festival. The partnership will present the Blue Note Jazz Festival: European Sounds Series, a special collection of curated performances at Blue Note Jazz Club with the objective to showcase European culture and jazz within the United States. Participants include Cultural Services of the French Embassy, Consulate General of Luxembourg, Consulate General of the Federal Republic of Germany, Consulate General of Greece in New York and Onassis Foundation USA, Balassi Institute - Hungarian Cultural Center New York, Dutch Culture USA program by the Consulate General of the Netherlands in New York, Consulate General of Slovakia, and Consulate General of Spain New York, as well as performers representing each respective country (lineup to be announced soon). The partnership coincides with the European Year of Cultural Heritage, an initiative to encourage more people to discover and engage with Europe's cultural heritage, and to reinforce a sense of belonging to a common European space. For more information, visit europa.eu/cultural-heritage/

"2018 is a paramount year for the festival," says Steven Bensusan, President of Blue Note Entertainment Group, "Our new partnerships with Sony Corporation, INGLOT Cosmetics of Poland, the Delegation of the European Union to the United Nations and its associated member states and organizations have allowed us to expand our global footprint and collaborate with different industries to produce an extra special event for fans and artists alike. We are extremely grateful for their contributions and are excited to work together to extend the festival outside of New York City and showcase some of the most talented musicians from all over the world. We are also excited to present some of the industry's biggest icons this year including Chris Botti, Art Garfunkel, Gregory Porter, Al Di Meola and many more."

Established in 2011, the Blue Note Jazz Festival was initially formed to celebrate the 30th anniversary of Greenwich Village's iconic Blue Note Jazz Club. Presented by Blue Note Entertainment Group - which owns and operates the diverse venue lineup of Blue Note, Sony Hall, and Highline Ballroom - the festival has quickly grown into an annual 30-day event, emerging as the city's largest jazz festival, with each venue offering its own unique cultural contribution to the New York City musical landscape. Additional venues and partners include The Town Hall, Central Park SummerStage, and Jill Newman Productions. Past festival headliners include Aretha Franklin, The Roots, Wyclef Jean, Natalie Cole, Brian Wilson, and more.



Bassist Jeff Denson's "Outside My Window" Features Reimagined Songs by Jeff Buckley, Peter Gabriel, Abbey Lincoln, and Chris Cornell


At first glance bassist Jeff Denson appears to reinvent himself on every album, and his 12th release as leader or co-leader, Outside My Window, might seem like his biggest departure yet. Possessing a huge, galvanizing sound and a lyrically-charged compositional vision, the supremely versatile Denson has earned recognition over the past 15 years as one of his generation's definitive bassists. Slated for release on his label Ridgeway Records on May 4, 2018, Outside My Window recalibrates his already expansive array of creative outlets by giving equal weight to his vocals. Working with a stellar international quartet, Denson delivers an emotionally taut program weaving together striking interpretations of iconic songs and deeply felt originals.

His mid-career emergence as a supple and engaging singer isn't coming from left field. On 2012's critically hailed Secret World, his first release under his own name, Denson included vocals on two original pieces and has continued in that fashion on most of his solo releases. On last year's Sgt. Pepper tribute May I Introduce to You with the collective San Francisco String Trio, his vocal interpretation of "Fixing a Hole" was one of the album's highlights. Denson's music covers a lot of stylistic territory, "but my voice is a thread running through each one, whether I'm singing or not," he says. "I was a singer before I was a bass player. Going into the jazz world I put my voice away for a long time. But this is a logical step for me, in that I'm using my voice more and more every year. This is the first time I'm singing throughout an entire album, and these songs are a direct continuation of the music I've been writing and arranging."

Denson's arrangements of four songs by other artists don't reimagine the pieces as much as filter them through his subtle sonic palette, starting with a gorgeous, lapidary version of "Grace," a piece inspired by the Negative Press Project album he produced last year for Ridgeway Records, Eternal Life: Jeff Buckley Songs and Sounds. He delivers a sparse, intensely poignant rendition of Abbey Lincoln's "Bird Alone," a re-harmonized 6/8 version of Peter Gabriel's "In Your Eyes" and a riveting arrangement of "Fell On Black Days" by Chris Cornell, a piece that serves as a tribute to Soundgarden's vocalist, who's music served a high school soundtrack for Denson.

"In my mind, he's arguably the best voice of that rock/grunge generation," Denson says. "I wanted to pay tribute to him and his artistry. And Abbey is one of my favorite jazz vocalists. I've always loved the way she sings, how she pulls on the time like Billie Holiday. She sings with such a full, intense, large sound, and this song of hers always moved me. I wanted to see what I could do with it."

Denson's four original pieces stand up impressively next to his interpretations, from the Beatlesque optimism of "For A Brand New Day" to the clangy prepared-piano accompaniment of the anguished "Have We Really Gone This Far?" On a melancholic piece that feels like it beamed in from a universe neighboring Miles Davis's In a Silent Way, Denson contributes an atmospheric wordless vocal on "Through the Mist," a tune he's radically rearranged since the collective trio Minsarah introduced it in 2006. The closing title track is a wistful invitation into Denson's verdant musical world.

The album is built on some of his deepest musical relationships. Denson and Dayna Stephens met at Berklee and have played together in various contexts ever since. Israeli-born drummer Ronen Itzik is also a Berklee alum, and he and Denson bonded as part of the rhythm section for Joe Lovano's 21st Century Ensemble. They went on to get graduate degrees at Florida State University, where they played together daily and recorded three albums in two years with pianist Bill Peterson and one with vocalist Inga Swearingen. Kari Ikonen, one of Finland's most highly regarded jazz musicians, is a much more recent addition to Denson's musical world, but he's quickly become indispensable. In need of a pianist for a tour with legendary alto saxophonist Lee Konitz, he hired Ikonen and "it was joyously apparent to me that along with Ronen, this was my trio. It felt easy and inspiring and the next few tours I did with Lee Konitz were with them."

Konitz played a crucial role in encouraging the reemergence of Denson's vocals after hearing his singing on Secret World. Performing together at the Bimhaus in Amsterdam, the altoist made an impromptu announcement in the middle of a standard that "Jeff is going to sing," he recalls. "There wasn't even a microphone set up, but I started singing the melody. I booked a West Coast tour with him after that and we'd spontaneously sing together every night. It felt great, playing the standard jazz repertoire and being able to sing on stage with him. But at the same time, I knew that I wanted to do my own music and sing the way I sing, without having to filter anything."

Born on Dec. 20, 1976 in Arlington, Virginia, Denson grew up in the orbit of Washington, DC. After playing alto sax from third grade through junior high, he gave up the horn but was drawn back to music when friends in high school recruited him as a singer for rock bands. When one of those groups also needed a bass player, he took over the spot and before long found himself drawn to the jazz and funk electric bass pantheon, "Players like Jaco, Bootsy Collins, and Stanley Clarke served as the gateway," Denson recalls. "When I heard the virtuosic electric playing in fusion, that opened the door to jazz." Listening to Miles Davis led him to the double bass, but it was Mingus who inspired him to dedicate himself to it. "I heard 'Haitian Fight Song' where he plays that amazing intro, and that was the defining moment," Denson says. "I knew I'd never be able to make sounds like that on an electric bass."

While studying at Northern Virginia Community College Denson supported himself freelancing around DC, playing jazz, orchestral music, rock covers, and leading his own funk combo as a bassist and vocalist. Earning a scholarship to Berklee College of Music, he quickly fell in with German pianist Florian Weber and Israeli drummer Ziv Ravitz, fellow students with whom he formed Minsarah. The collective trio released its debut album in 2003 on Hubermusic, and followed up in 2006 with a critically hailed eponymous album on Enja Records. Despite touring internationally with the group Denson managed to maintain a rigorous academic career.

Recruited by Florida State University, he graduated Magna Cum Laude an MM in Jazz Studies on a full scholarship and discovered an affinity for teaching. A conversation with bass giant Mark Dresser, who had just been hired as a professor at UC San Diego, brought Denson to UCSD on another full scholarship, leading to a doctorate in contemporary music performance with an emphasis in composition. Throughout his San Diego sojourn, Denson continued to tour widely with Minsarah, and it was during a spate of 2006 concerts in Germany that Lee Konitz first heard the band, "the start of a great adventure," Denson says.

With Minsarah serving as his band, the critically hailed Lee Konitz New Quartet debuted on 2007's Deep Lee and followed up with 2009's Lee Konitz New Quartet: Live at the Village Vanguard, Jazzman Magazine's 2010 Album of the Year Award, and 2014's Standards Live: At the Village Vanguard (all on Enja). Denson made his debut as a bandleader with 2012's Secret World, and went on to demonstrate his versatility with simultaneous duo releases, radically reconceiving American hymns and spirituals with San Diego pianist Joshua White on I'll Fly Away and exploring freely improvised dialogues with Swiss clarinet virtuoso Claudio Puntin on Two.

Since relocating to the East Bay in 2011 to take on a full professorship at the California Jazz Conservatory, Denson has forged ties with some of the Bay Area's top players, including bassoonist Paul Hanson, clarinetist Ben Goldberg, guitarist Mimi Fox and violinist Mads Tolling (his partners in the San Francisco String Trio). A prolific composer and arranger, he's written music for an array of jazz settings, as well as for string ensembles, solo bass, and chamber opera.

He's brought his many pursuits under one umbrella with the recent unveiling of Ridgeway Arts, a non-profit designed to enhance and fortify the Bay Area scene, and to make a strong contribution to the national landscape of jazz and the arts in general, through a four-pronged plan of expression, education, presenting and documentation. He introduced the initiative with The Jeff Denson Trio + Lee Konitz, and followed up with Arctic by drummer Alan Hall's critically hailed electro-acoustic ensemble, Ratatet. The label has become an essential conduit to an international cast of musicians, and the portal to Denson's multifarious musical imagination.

"Artists are always dreaming up what we're doing," he says. "My goal has always been very clearly to create my own musical world."



JEF STOTT PRESENTS ASLAN DUB SYSTEM VOL. 1


Bay Area producer, composer, multi-instrumentalist, documentary filmmaker, and music educator Jef Stott returns with his first album release in five years. Stott who has released three critically acclaimed albums on Six Degrees Records and over 10 albums in his long career is back in a major musical way with an exciting new project, Aslan Dub System, that focuses on bass music heavily mixed with electro cumbia, Jamaican dub, and Balkan brass all held together with Stott’s signature global fusion foundation. Aslan Dub System Vol. 1 is due out on June 8th on Stott’s new record label Embarka Records and distributed worldwide through Six Degrees.

Aslan Dub System is the fruition of Stott’s life changes and personal growth over the past decade, which included his new teaching job at SF JAZZ, the launch of his video travel series World is Sound (http://worldissound.tv), and marrying into his new Turkish family, as well as his original SF recording studio closing down. Stott’s describes what happened to his project studio “All of my previous work had been written and recorded in my studio in San Francisco and that building was demolished in the ongoing wave of gentrification in S.F. So, my studio of over 10 years was shut down. I embraced the change and took a job in the Education Dept of SFJAZZ and built up an audio production classroom there and became well known as an educator.”

While prospering at his new role as a music educator, Stott also launched the World is Sound project, a video travel series about music. The series presents rich sonic cultures through interviews and performances with musical artists from exciting and vibrant destinations around the globe. The series, that Stott hosts, shoots, edits and produces, provides an engaging look at how performers in major urban settings create their musical art forms. Think of it as Anthony Bourdain, but about music. Stott has already traveled to Japan, Istanbul, New Orleans and Cuba for the project interviewing and jamming with people all over the world. Watch the series and find out more at http://worldissound.tv.

Stott’s inspiration from traveling didn’t stop there. His recent marriage to his Turkish wife whose family is based in Istanbul and the Aegean Coast added to his sonic and personal journey. He passionately states, “I have travelled there several times, which was a huge influence not only culturally, but socially. Being surrounded by such a large loving family had a positive effect on the moody lone wolf artist. Through my travels and my new family overseas, I experienced first-hand how music is the fabric of life, weaving society together, music and community is life. So, I wanted to start creating something that added to that feeling, something collaborative, celebratory and communal.”

The result of these experiences are projected in Aslan Dub System Vol. 1. Stott describes, “I found a renewed passion to create more music with a positive outward looking sound. I am much more interested now in connecting with people globally thru music instead of looking more inward as a studio artist. The sound that is coming out of this new project is sunny, positive and inclusive. I feel more than ever that music is a key to understanding and compassion and we really need that in the world now. I am committed more than ever to bring a positive global vibe to my fans and new audiences.” The project is also debuting on Stott’s new imprint Embarka Records, which will release Stott’s music and the artists he collaborates through the World is Sound project all with an emphasis on global bass music from around the world.

The debut EP Aslan Dub System Vol. 1 is aptly titled as “Aslan” means “Lion” in Turkish and “dub system” is a nod to Jamaican sound system culture. On the five diverse bass music tracks on Aslan Dub System Vol 1.  Stott enlists a talented cast of musicians who join him including Will Magid on trumpet, best known for his work as Balkan Bump signed to Gramatik’s Lowtemp label, Morgan Nilsen on clarinet from La Misa Negra, Inspector Gadje, and Latin American percussionist Vincent de Jesus. Each track has its own unique style, whether it’s the Balkan bass tunes of “Balkan Beach” or “Jelem Cantina” to the old school drum & bass roller “Ready For This” to the electro cumbia dub of “Soñar (to dream)” or the Burning Man festival inspired opener “Yemaya.”

Stott concludes, “I’m excited and grateful to be releasing this music. I hope to continue growing as an artist through these collaborations, using my resources to help other artists release their work on the new Embarka Label and to continue traveling and connecting with people through the World is Sound video series and through more Aslan based musical projects and collaborations. We as artists and citizens need to keep seeking to come together, to find common ground and shared experiences. Pulling back into our safe zones of nationalism is not the way forward. Music is the unifier and the way forward.”



Bassist Stanley Clarke Releases "The Message" Featuring Guests Musicians


45 years after his album debut, four-time Grammy® Award-winning bassist Stanley Clarke shows he is still unapproachable on both the electric and acoustic, wielding a vision of fusion and funk, breakbeats and bass-interpreted cello suites with a little help from friends like rapper/beatboxer Doug E. Fresh and trumpeter Mark Isham. Backed by a young versatile band and a collection of tunes written in the midst of a tumultuous tour of Europe, The Message (available June 29 via Mack Avenue Records) swells with an abundance of strength, soul and astounding musicianship.

“I’m very excited about our work on this album. I wanted to include some of my band members’ contributions and the result is an album that is funky, melodic, musical, contemporary and fresh with a rich multi-genre influence,” Clarke commented. “The guys in this band are consummate young musicians with musical spirits that are very old.”

In 2015 Clarke brought a band through Europe consisting of keyboardists Cameron Graves and Beka Gochiashvili and drummer Mike Mitchell. When a terrorist attack in Tunisia prevented the band from continuing their tour (which was scheduled to go there next), they opted to hunker down in Paris and compose.

“We were in this great hotel and the owner was a fan,” remembers Clarke. “I said, ‘Can you put these three guys in a room where no one can hear them?’ He found a room and after two days, they wrote compositions that reflected their worldview and included their versatility in many different musical genres. A lot of this stuff I would have never written in a million years.”

A few days later the band entered ICP Studios in Belgium and recorded an abundance of material. Clarke returned to his home in Los Angeles with the tapes and began to tinker. “Once I got the raw material, I fleshed it out. My ability is to orchestrate and arrange. I’m very good with taking anything and turning it into something.”

Much of the material from their Paris adventure is collected on this album but the affair opens with a homegrown homage to several soulful great friends that Clarke has lost in the last few years including George Duke, Al Jarreau, Tom Petty, Leon “Ndugu” Chancler and Prince. Clarke slaps out a funky riff for “And Ya Know We’re Missing You” while renowned beatboxer Doug E. Fresh lays down an intrepid beat. A rare pairing that seems instinctual upon first listen.

“After the Cosmic Rain/Dance of the Planetary Prince” encompasses Clarke’s entire career and is the first on the album from those European sessions. The basis of the tune was written in the early ‘70s for his band Return to Forever, but this time the Planetary Prince is keyboardist Cameron Graves. The young keyboardist, a member of the West Coast Get Down phenomenon, has toured with Clarke for many years. His fleet-fingered tornado is the focal point of the performance. “Cameron played one of the most amazing synthesizer solos I heard in a long time. I had gotten blown out on synthesizer solos from all the fusion days in the ‘70s, but Cameron came up with a warm beautiful solo. One of the best synth solos I’ve heard in 10 or 15 years.” 

Amid the barrage of drums and basses on “The Rugged Truth” is Gochiashvili, a native of Tbilisi, Republic of Georgia, who has toured with Clarke for the past five years. His piano solos in this piece hold a breathless array of eclectic ideas and impeccable technique, integrating seamlessly with Graves’ battalion of keys.

Now 21-years-old, Beka Gochiashvili was an award-winning child jazz piano prodigy and has already performed with many of the jazz greats of our time. He was brought to the US in 2008 with the help of Condoleezza Rice, then Secretary of State and an accomplished pianist herself. Rice brought Gochiashvili to New York to participate in auditions at the Juilliard School and at the Manhattan School of Music. Not surprisingly, he was accepted in both schools. He has released two of his own albums, the most recent of which is Beck Logic Project: Chillin’ in Batums.

“Heavy, heavy heavy,” says Clarke with a smile speaking of Gochiashvili. “Beka is a tremendous solo pianist, who I predict one day will be as influential as Keith Jarrett. He is truly a hard worker and dedicated musician. I’m very impressed with him.”

The recognizable voice of Steve Blum narrates “Combat Continuum,” an 8-bit fusion fantasy that steps back beyond the galaxy and into a realm that burns with energy.

In a band full of powerhouses, young Texan drummer Mike Mitchell stands out as an incredible force. “He’s probably one of the most energetic drum geniuses that I have ever played with. I’ve never seen a guy that is so creative with drums. If he continues down this path, he could very easily be a Tony Williams or Elvin Jones,” says Clarke.

“The Message” and Bach’s “Cello Suites, No. 1” are two sides of the same coin for Clarke. He is as at home with the electric bass as he is with the upright. But they are still worlds apart. Here he ties them with an empathetic feel, virtuosic but controlled. “The Bach cello suite is like a serious thing to attempt. It’s a hard piece. I do it in the same key as the cello. I don’t change it to suit the bass or make it easier. I worked out the fingering and I’m just trying to make it sound pretty.”

The slow groove of “Lost In A World” is a laidback duet between vocalists Skeyler Kole and Trevor Wesley. Tight harmonies and Gochiashvili’s dreamy piano carry the tune on a cloud while “Alternative Facts” burns that same piano to the ground. The band is playful but centered. Gochiashvili shows off his acoustic chops with startling clarity and control.

“The Legend of Abbas and the Sacred Talisman” is a calming meditation from Clarke on upright bass and Gochiashvili’s piano. They dreamily float on the same wavelength, effortlessly drifting along as though they have played together for decades. The warmth and musicianship is undeniable as the ship points the way home to “Enzo’s Theme,” a track from the European session bolstered by the welcome additions of trumpeter Mark Isham and saxophonist Doug Webb.

The Message is unmistakably a Stanley Clarke record. Five decades of unapproachable bass mastery doesn’t come easy and Clarke has no interest in relinquishing his throne. Propelled by the youthfulness of his bandmates, Clarke reaches even deeper into his bag of tricks for an incredibly satisfying listen.

“Our message is simple. It is a message of love. There is nothing really profound about our message. It’s just love. A lot of artists have said it in their own way. This is ours.”

The Stanley Clarke Band · The Message
Mack Avenue Records · Release Date: June 29, 2018


Wednesday, May 09, 2018

MYSTIC BOWIE'S TALKING DREADS FEATURING REGGAE VERSIONS OF TALKING HEADS HITS AND MORE SET FOR RELEASE


MYSTIC BOWIE'S TALKING DREADS will release its debut single, "Once In A Lifetime," tomorrow -- Friday, May 4 -- on iTunes, Amazon, and all digital retailers. The release of the full length debut album titled MYSTIC BOWIE'S TALKING DREADS, will feature reggae spins on classic Talking Heads songs, due June 15. In conjunction with the album release, the group will hit the road with U.S. tour dates starting May 24 in Buffalo, New York through September 2 in Salisbury, MA (with additional dates to be announced).
  
The Talking Dreads album will feature a lineup of legendary reggae figures including singer Freddie McGregor; ska guitar master Ernest Ranglin (Bob Marley, Jimmy Cliff and Monty Alexander); Soul Train Award nominated Tarrus Riley ("Start Anew," "Good Girl Gone Bad"); and saxophone great Dean Fraser. The album also includes drummer Kirk Bennett and Lincoln Thomas, McGregor's longtime guitarist. Cindy Wilson of the B-52s special guests on a duet with Mystic for "Heaven."

As a former member of the Tom Tom Club, a band that included former Talking Heads founders Chris Frantz and Tina Weymouth, Mystic Bowie infuses fresh life into Talking Heads' classic catalog with his high octane mix of roots reggae, ska and lover's rock.

The album will include 11 Talking Heads songs with Mystic's own unique, Jamaica-fied spin; plus two additional tracks, including:  "Love Goes to Building On Fire," "Slippery People" (Feat. Tarrus Riley):  "Burning Down The House," "Houses In Motion," "This Must Be The Place," "Once In A Lifetime," "Pulled Up," "Life During Wartime" (Feat. Freddie McGregor); "Crosseyed And Painless;"  Grateful Dead's "Shakedown Street," "Psycho Killer," "Piece of My Heart," "Heaven" (Feat. Cindy Wilson). 

Says Salon of a recent Talking Dreads live performance:  "Talking Dreads covers Talking Heads songs as shimmering one-drop reggae jewels…swapping out urbanity for roots and sincerity."

Since introducing his musically revolutionary Talking Dreads project at the High Times Music Festival in Negril in 2015, the Jamaican-born singer has performed at more than 100 shows across North America – spinning the heads of initially skeptical Talking Heads fans, and getting everyone grooving along to the rhythms and jubilant spirit of his native island.

Mystic's close personal and professional relationship with Chris Frantz and Tina Weymouth began when he joined the Tom Tom Club as a singer in 1996. He appeared on their 2000 album THE GOOD, THE BAD AND THE FUNKY and performed with them for nearly 20 years.

MYSTIC BOWIE'S TALKING DREADS current U.S. tour dates are below:
5/24/18 / Buffalo Iron Works / Buffalo, NY
5/25/18 / Jackson Downtown Summer Concert Series / Jackson, MI
5/26/18 / Vegetable Buddies / South Bend, IN
5/27/18 / Dark Star Jubilee / Thornville, OH
6/1/18 / Ocean Mist / South Kingstown, RI
6/15/18 / The Warehouse at FTC / Fairfield, CT
6/20/18 / Brooklyn Bowl / Brooklyn, NY
6/22/18 / Milkboy / Philadelphia, PA
6/28/18 / Koru Beach Klub / Avon, NC
6/29/18 / Motorco Music Hall / Durham, NC
6/30/18 / Grey Eagle Tavern / Asheville, NC
7/6/18 / Flying Monkey / Plymouth, NH
7/7/18 / The Cabot / Beverly, MA
7/14/18 / Road Jam Music Fest / Gilford, NH
7/21/18 / Bearsville Theater / Woodstock, NY         
7/27/18 / Wonder Bar / Asbury Park, NJ
8/1/18 / Fountain Square / Cincinnati, OH
8/4/18 / Moon Dancer Winery Music Festival / Wrightsville, PA
8/7/18 / Cervantes / Denver, CO          
8/11/18 / Volcanic Theatre, Bend, OR        
8/17/18 / Elks Lodge, Grass Valley, CA               
8/18/18 / Michael David Winery Festival, Lodi, CA               
8/19/18 / Sweetwater Music Hall, Mill Valley, CA         
9/2/18 / Surfside Salisbury, Salisbury, MA


NEW RELEASES: RICHARD KOECHLI – PARCOURS; DENNY ZEITLIN – WISHING ON THE MOON; ROMAN FILIU - QUARTERIA


RICHARD KOECHLI & A BLUE ROOTS COMPANY - PARCOURS

New album from Award-winning Slideguitar player Richard Koechli. 79 minutes of finest Roots-Music; not just Blues, but footprints of Soul, Jazz, Pop, Folk & Rock. However, a seductive balance of rhythmic contrasts, melodiousness and relaxed unobtrusiveness holds everything together – in a way that reminds us of laid-back masters such as J. J. Cale. 16 new songs, a wonderfully dynamic band – and Koechli's voice, which has found its home somewhere between intimate Folk singing and soulful Blues power. What Guido Schmidt (Founder of Lucerne Blues Festival) says about Koechli: «Brilliantly delivered original compositions, deeply rooted in traditional blues, Richard Koechli bows before the legends and gets every bluesloving soul moving. If it weren't for the few songs written in Swissdialect, no one would ever come to the conclusion that this exceptional celebration of sounds from the motherland of the blues is being delivered by someone from along the Reuss River in Lucerne. Koechli impressively proves why he is considered to be one of Europe s leading blues and slide guitarists. From a musical point of view, it doesn't even matter what the name of the river in Lucerne is...»

DENNY ZEITLIN – WISHING ON THE MOON

Pianist Denny Zeitlin never fails to make us smile – and on an album like this, recorded many years after he first brought a new brightness to the world of jazz piano, we're still amazed at how he can unlock so many special moments with effortless ease! Zeitlin's always completely himself, but also never overstating his identity – just casually sliding into these note structures that are as appealing and optimistic as they are fresh – modernism, but from the brighter side of the sun – aided by the work of Buster Williams on bass and Matt Wilson on drums. Titles include the originals "There & Back", "Signs & Wonders", "Wishing On The Moon", and "Slickrock" – plus "All Of You" and "Put Your Little Foot Right Out". ~ Dusty Groove

ROMAN FILIU - QUARTERIA

An album of nervous rhythms and angular edges – and a set that seems to make the most of the tonal interplay between the alto of Roman Filiu, the tenor of Dayna Stephens, and trumpet of Ralph Alessi – all painted in these nicely dark colors by the piano of David Virelles! The album finds ways to swing that are quite unconventional – often building up the rhythms in blocks of sound that come as much from the horns as they do from the drums of Craig Weinrib, bass of Matt Brewer, and percussion of Yusnier Sanchez – on a set of Filiu compositions that include "Harina Con Arena", "Choiral", "Danza #5", "Fulcanelli", "Grass", "Imperator", and "For Horns & Bells". ~ Dusty Groove


Tuesday, May 08, 2018

NEW RELEASES: LOGAN RICHARDSON – BLUES PEOPLE; TOO SLOW TO DISCO BRASIL – COMPILED BY ED MOTTA; PETER BRONTZMANN & FRED LONBERG-HOLM - OUROBOROS


LOGAN RICHARDSON – BLUES PEOPLE

Logan Richardson's really on fire here – sounding a bit different than any of his previous records, but equally creative overall! The set's got an unusual format – two guitars and electric bass dominate the middle, with heavy drums from Ryan Lee, and these very openly-blown alto parts from Richardson – sometimes as textural waves of sound, sometimes sharp and pointed, and always up to the challenges of the shifting scapes of the styles! There's a fair bit of darkness in the mix – maybe similar to some of the brooding instrumental funk of Meshell N'Degeocello – and the heavy use of guitar might be seen as a nod to the blues roots hinted at by the title – but the overall sound is very different. Titles include "The Settlement", "With You", "Uraban Life", "Pure Change", "Class Wars", "Underground", "Country Boy", "Hunter Of Soul", and "80s Child". ~  Dusty Groove

TOO SLOW TO DISCO BRASIL – COMPILED BY ED MOTTA

This very hip series just got a whole lot hipper – thanks to the selection talents of Brazilian soul legend Ed Motta – who serves up a huge host of rare tracks from Brazil! Ed's always had a deep love of the AOR sound of the 70s – and he's not only a great soul singer on his own records, but also a hell of a record collector too – one whose knowledge of rare grooves goes way beyond most other folks we've ever met! This set opens up a huge amount of Brazilian soul we'd never heard before – music that takes off from the late 70s territory of Azimuth and Banda Black Rio, and soars with sweet jazzy grooves that are completely sublime – most from the 80s, and most by artists who've never gotten their due on the reissue market. Killer all the way through – with titles that include "Pra Voce" by Carlinhos & Soninha Querioz, "Acordes E Sementes" by Gelso Oliveira & Luiz Ewerling, "Joia Rara" by Brylho, "Rota Mar" by Zeca Do Trombone, "Clarear" by Roupa Nova, "Quero Pouco Quero Muito" by Filo Machado, "Guarde Minha Voz" by Sandra Sa, "Debora" by Altay Veloso, "Copacabana Suite" by Junior Mendes, "Renascendo En Mim"b y Don Beto, "Toda Manha Brilha O Sol" by Lucinha Turnbull, "Coisas Do Brasil" by Guilerhmes Arantes, "Mare" by Carlos Bivar, "Leao Ferido" by Biafra, "Mais Uma Chance" by Santa Cruz, "Rio Best Seller" by Cassiano, and "Se Eu Te Pego De Jeito" by Jane Duboc. (Includes download!)  ~ Dusty Groove

PETER BRONTZMANN & FRED LONBERG-HOLM - OUROBOROS

An album of beautiful tones and textures – and a set that has these two different improvisers really finding some great space together! The theme here isn't compromise, but exploration – as Brotzmann reminds us what again what a multi-faceted saxophonist he can be – finding ways to mix his reed work with the stringed instruments and electronics of Fred Lonberg-Holm – who himself is really ready to go into some of the bolder places that the saxophonist can explore! Perhaps most impressive is the way that the album can shift focus within a single improvisation, sometimes leaving us to wonder which sound is coming from which musician – on titles that include "The Circle", "The Figure Eight", "The Spiral", and "The Fusion Of Opposites". ~ Dusty Groove


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