Monday, January 14, 2019

Real Gone Music Releases Johnny Mathis’ Long-Shelved I Love My Lady, Produced by CHIC’s Nile Rodgers and Bernard Edwards


Johnny Mathis was billed on his very first album as “A New Sound in Popular Song.” In the decades since that 1956 debut, the vocalist has always explored new avenues in pop from Latin music to Philly soul. But the most adventurous of Mathis’ 60-plus albums may be the one that got away…until now. In late 1980, Johnny teamed up with the white-hot CHIC production team of Nile Rodgers and Bernard Edwards, fresh off triumphant collaborations with artists including Sister Sledge and Diana Ross, for I Love My Lady. Mathis took his voice into new, uncharted territory on eight anthemic, club-ready tracks that pushed the envelope of rhythm and blues as they incorporated funk, jazz, disco, and dance rhythms. Despite the irresistible beats, incomparable vocals, and of-the-moment production, Columbia Records shelved I Love My Lady in 1981. Yet its legend only grew as the years passed. In 2006, house music duo The Shapeshifters even tantalizingly sampled a track from one song (“Love and Be Loved”) while the full track remained in the vault.

Finally, beginning in 2010, its songs began to trickle out on compilations, and in 2017, I Love My Lady was issued for the first time as part of a Mathis box set. Now, Real Gone Music and Second Disc Records are proud to present the first-ever standalone compact disc of this remarkable album by two American treasures: Johnny Mathis and CHIC. For the occasion, we’ve commissioned all-new cover artwork, and Johnny has graciously sat down for an interview with The Second Disc’s Joe Marchese to reflect on the album’s creation. The deluxe booklet also features rare photos of Johnny, and Mike Piacentini has remastered at Sony’s Battery Studios. A lost album no more, the sleek I Love My Lady presents the eternal Voice of Romance out on the town in the early 1980s, with sensuality and soul going hand-in-hand. It’s Johnny Mathis as you’ve never heard him before.

Tracklist:
1. Fall in Love (I Want to)
2. It’s Alright to Love Me
3. Something to Sing About
4. I Love My Lady
5. Take Me
6. Judy
7. Stay with Me
8. Love and Be Loved



Wednesday, January 09, 2019

New Music Releases: Tony Adamo - Was Out Jazz Zone Mad; Nicole Willis & Banda Palomita -I Call Your Name; ElectroBluesSociety feat Boo Boo Davis - Evil

Tony Adamo - Was Out Jazz Zone Mad

This cat takes some old school spoken word and makes it fresh - with a clear eye on the Jazz greats and no apologies. Tony Adamo has led a storied life, from the Navy to radio to acting to putting up billboards. When he met up with Mic Gillette and Skip Mesquite from Tower Of Power, he began recording and found a new groove: Free flowing spoken word. Tony writes his words down, and then does his piece on stage or in the studio, and the words are not the same. He has teamed up with Mike Clark for his new record, WAS OUT JAZZ ZONE MAD, released this past September with a feature from Roger Smith. This is the poet as band member - sometimes singing, sometimes beat poet, sometimes a radio presenter, all in synch with the madness of the music. It's like a sport, where the ball can go anywhere and the players move in earnest. When it's right, it's nothing but graceful. WAS OUT JAZZ ZONE MAD pays tribute to the greats, to the players behind him, and to the art of improvisation.

Nicole Willis & Banda Palomita -I Call Your Name

When you've recorded a duet with Curtis Mayfield, been included in President Obama's re-election playlist on spotify, have music released on Universal, Warner, Sony BMG, Warp Records, Ubiquity, Light In The Attic and many more, there's not much left to prove. Yet following a career spanning over three decades, singer, songwriter and producer Nicole Willis continues to challenge herself. From the concept to the band line-up, from writing the music and lyrics to recording, editing and mixing, Miss Nicole was involved in all aspects at play in the making of her upcoming new album My Soul Sensation, a luscious collection of disco-tinged soul, jazz-funk, boogie & electro with new backing band Banda Palomita. The album is anticipated by first single "I Call Your Name", an infectious slice of electro-funk in which Nicole languidly addresses a lost love whose memory still haunts her.

ElectroBluesSociety feat Boo Boo Davis - Evil

For this recording ElectroBluesSociety went back to basics and teamed up with Mississippi blues man Boo Boo Davis. Together they revisited classic Chicago blues and recorded seven songs. These will all be released as singles during the coming months. Here is the fourth track from the recording session This time it’s another Howlin Wolf classic with a little 'electrofication'. KuvVer Records is a new sub label. Specially created to release refreshing cover versions of well known songs in any musical style.


Tuesday, January 08, 2019

Austin Based R&B Soul Singer Kelly Hafner Announces Release of Debut Studio Album "If it’s Love" Due February 22nd, 2019


Austin based R&B soul singer and songwriter Kelly Hafner is due to drop her debut studio album If it’s Love on February 22nd, 2019. Her show-stopping voice and unmistakably improvisational style keep listeners hooked from start to finish.  Echoing the traditions of her soul forebears like Etta James, Lauryn Hill, Marvin Gaye, and Amy Winehouse, If it’s Love tests the boundaries of neo-soul in a refreshing way while lyrically navigating the human experience through a young woman’s eyes in the 21st century.

Kelly Hafner is a Berklee College of Music graduate, and grew up in northern California. Upon graduation, she returned to the Bay Area and began writing and recording music in her bedroom.  She honed her live performance with a San Francisco-based live band, Fire, before moving to Austin. It is there she began her career as a solo artist and working on her new album. She met Sam Diaz, guitarist on the upcoming album, at the local Jazz club the Elephant Room where he was bartending. They immediately hit it off, Hafner recalls, “Sam was one of the first people who I could openly write and make words up on the spot with, after a week of hanging out we had written about five songs. We continue to write new songs together now, 2 years later.”

For Kelly Hafner, the forthcoming album explores themes focusing on human emotion and connections to oneself, life, God, and lovers. Hafner explains, “Lots of these songs came out of a time when I was feeling blue or experiencing the euphoria and/or heartache that comes with falling in and out of love. All of the songs were cathartic, helping me to move through life and release anything stuck in my mind.”

If It’s Love was recorded with a mix of Hafner’s Austin based band, Sam Diaz (Guitar) and Daniela Pennycook (Violin); and a bevy of talented studio musicians including the winner of Guitar Center’s nationwide DrumOff in 2010 – Isaias Gil, John Shelton (Lead and Rhythm Guitars), Mark Riddell (Bass), Derek Hames (Drums, Bass, Mellotron, Percussion, Background Vocals), Jimmy Moreland (Hammond Organ, Wurlitzer), Preston Smith (Trumpet, Flugelhorn), Andre Hayward (Trombone), and Andrae Grant (Saxophone). They recorded at Edgewater Studios in Houston, produced by studio co-owner Derek Hames (The Drugstore Gypsies, National Park Radio, The Buffalo Ruckus), and engineered by studio co-owner John Shelton.

The new album takes a deep dive into a soulful journey that highlights the depth of Hafner’s voice. The 10 track deep album keeps you listening for more as Hafner’s voice takes you on a journey deep into Kelly Hafner’s heart with songs like the deep vintage vocal-driven title track and lead single “If it’s Love.” She comments, “It’s about having faith in trusting your gut, your intuition when it comes to the person you’re meant to be with, and the path to take in life. It’s half about falling in love and about going through life authentically and without doubt. No matter how hard it is to honestly reflect on where we’re at in the moment.” Hafner’s lyrics “Birds fly high, time moves slow, somehow they always know where to go” highlight this sentiment. The lead single is due to drop in January 2019.

Another highlight is “Things are changing,” a funky soul head-bobber that includes an eight-piece ensemble to accompany Hafner powerhouse vocals. For Kelly Hafner, “This song is about empowerment. It’s about accepting myself for who I am, a singer, and making lemonade out of lemons per say. It’s about a strong woman who has been through experiences that have brought her down, and taking inspiration from them to make something awesome rather than sitting around and crying about them.”

“Give Light” is a reggae tinged song that features the memorable sounds of the Mellotron and gives it the warm and fuzzy feelings of falling in love. Hafner says, “It’s about being accepted for who you are, and loving who you’re with unconditionally. It’s about helping the person you love instead of hurting them, because once you’re that close to someone they almost feel like they’re a part of you.” A few more standouts include, “Dreams” an inspirational ditty about going for what you want in life, “No time” is about being unsure if your love will be returned, “Keep On Hanging On” is about hard times, when you start to seek spiritual guidance in God, and knowing a good friend will always be there for you, and “Angel” came about during a dark time in Hafner’s life when she turned to meditation to find light through the darkness.

In the end, Hafner’s view of her own music is what gives it true soul.  She explains, “This release is for anyone who finds peace or happiness from listening to the songs, to express truth rather than perfection, to be an understanding force for people who need it, when they need it. There’s something special about communicating with people through sound, before even meeting them. That I think is magic.”

Kelly Hafner is poised to release If It’s Love on February 22nd, 2019 via her imprint Smokey Jazz Records with distribution through The Orchard. She will be touring in support of the new release next year. To catch all of her tour dates, follow her here or here: https://www.bandsintown.com/a/12973490

Track Listing: If It’s Love

“If It’s Love”
“Dreams”
“Keep On Hanging On”
“Things Are Changin’”
“Lifted”
“No Time”
“Summergirl”
“On My Mind”
“Give Light”
“Angel”



New Music Releases: Billy Robinson – Evolution’s Blend; Justin Morell – Concerto For Jazz Guitar And Orchestra; Something Blue – Maximum Enjoyment


Billy Robinson – Evolution’s Blend

A fantastic album from overlooked Canadian tenorist Billy Robinson – a hell of a player, and one who might have been huge if this album were issued on a regular label in the US – instead of as a project by Radio Canada up north! Robinson has a wonderful vision here – gently spiritual, but in a more straight ahead way – working in this relaxed soulful combo that really sparkles with piano from Pierre Leduc and guitar from Peter Leitch – the latter of whom is a chromatic genius, in the Sonny Greenwich school – and really finds a great way to illuminate the tunes! Robinson's tone dominates, but the album's also got rock-solid rhythms from Erroll Waters on bass and Jim Norman on drums – on original tunes that include "Quebec On My Mind", "Evolution's Blend", "The Family", "It's Raining Ashes", and "Homing". ~ Dusty Groove

Justin Morell – Concerto For Jazz Guitar And Orchestra

On Concerto For Jazz Guitar And Orchestra, three master musicians have joined forces to create a project of great beauty and depth. The music is composed by Justin Morell and presented with virtuosic performances by guitarist Adam Rogers and the Frost Concert Jazz Band under the direction of John Daversa. The Concerto For Jazz Guitar And Orchestra incorporates elements of concertos by Mozart, Haydn, and Beethoven, and also the great concertos of the Romantic period, while drawing on the musical languages of contemporary classical and jazz music. The Concerto is in three movements (fast, slow, fast). Although it uses the classical sonata form as the outline for two of its movements, it does require the soloist to improvise much more extensively than a work by Haydn or Mozart, and unlike classical concertos, it has moments of backbeat grooves, Brazilian rhythmic influences, and harmony that is typical of modern jazz or classical music.

Something Blue – Maximum Enjoyment

A record that definitely lives up to its promised title – as the whole thing brims over with excellent work from players you might know from other albums on the Posi-Tone label! The group name doesn't get at the heart of the sound, though – as there's a sharp, soulful focus to the music throughout – kind of a classic hardbop approach, but with maybe a more contemporary sense of freshness, especially on the solo voices – which is no surprise, given that the sextet features Nick Finzer on trombone, Alexa Tarantino on alto, Sam Dillon on tenor, Art Hirahara on piano, Boris Kozlov on bass, and Rudy Royston on drums! The album's also brimming over with original material – tunes composed by group members or their labelmates – with tracks that include "Coppertone", "Slick", "New Directions", "Why Aren't You Excited", "Breeze", "Vast", and "Overcooked". ~ Dusty Groove



Avant-Jazz Group The Oddyssey Quartet To Release Sophomore Album “We Are All Branches of the Same Tree”

Following up their debut of composed music “Suite for the End of the Earth,” “We Are All Branches of the Same Tree” is the second release from avant-jazz group the Oddyssey Quartet,  featuring twelve improvised pieces from four musicians who have only played together a handful of times but who share the common ancient language of music, bringing them together in a cohesion of intuitive conversation, and demonstrating in real time that we all really are branches of the same tree. Featuring former Albert Ayler Quintet bassist Bill Folwell, and former Sam Rivers Rivbea Orchestra saxophonist David Pate, with Jose Cochez on drums, and Rex Shepherd on guitar and prepared guitar.

“After recording 'Suite for the End of the Earth,' which consisted of composed music, and having only played together as a group a few times, we wanted to see what we would get playing totally free. There was such a good vibe in the room with the four of us that it made playing so easy, the ideas flowed, I could respond to the sounds around me and the natural ebb and flow of conversational music happened. For me it is a spiritual thing, experiencing a wordless connection to others, when the music comes together and reveals the common thread in all of us.” - Rex Shepherd


ROCKY DAWUNI ANNOUNCES NEW ALBUM - BEATS OF ZION IS OUT MARCH 8, 2019 THROUGH SIX DEGREES DISTRIBUTION


Rocky Dawuni, the international music star, global ambassador and humanitarian activist, announces the release of his highly anticipated 7th studio album Beats of Zion, out March 8th, 2019 via Six Degrees Distribution. The thirteen-track set follows the GRAMMY nominated album Branches of the Same Tree, (“Best Reggae Album” in 2016) and expands Rocky’s “Afro Roots” sound to include the diversity of the Ghanaian music scene and its current global outreach.

Although Rocky’s music has had CNN naming him “Africa’s Top 10 global stars” and Ziggy Marley stating “Rocky’s music is creative inspiration that knows no boundaries,” it’s only one part of what drives his mass appeal. Dawuni’s eloquence, cultural diplomacy and passionate activism have led him to become a moving spokesperson for various global causes. Recently, Rocky was designated a UN Goodwill Ambassador for Africa at a beautiful concert at the UN Headquarters in Nairobi, Kenya in August 2018 held during the Global Landscapes Forum with dignitaries from all over the world. This is on top of the social campaigns and activism he’s done including work with Product (RED), ONE, UNICEF, The Carter Center, Clean Cooking Alliance and the United Nations Foundation. Additionally, with UNESCO’s recent designation of Reggae music as an Intangible Cultural Heritage of Humanity, Rocky Dawuni represents one of the leading African global voices of Reggae.

Rocky’s travels around the world helped shape the new album Beats of Zion. He elaborates, “Beats of Zion was born out of my desire to use my diverse global musical influences and exposure to various traditions to paint a multi-cultural musical vision of the world that I perceive. The beginning of the year saw me visit Ethiopia and India. In Ethiopia, I visited Lalibela, witnessing ancient Christian rites and my journeys in India also exposed me to its diverse spiritual culture and the shared similarities I saw to Africa.” He adds, “The title Beats of Zion is inspired by a vision of the drumbeat of awareness and elevation of consciousness; a musical call to arms for my audience to be proactive in this day and age as to each person’s responsibility to be an active instrument for positive change.”

The album was recorded in the span of almost 2 years in various studios in Accra, Nairobi and Los Angeles. In LA, Rocky was gifted studio time at the legendary Village Studios that has recorded the most influential artists including Bob Dylan, Elton John, The Rolling Stones, John Lennon, and Fleetwood Mac. Rocky ended up recording in the same studio room that Fleetwood Mac used and created the magic of the title track and “Wickedest Sound.” Rocky found out that Fleetwood Mac were one of the memorable American classic rock bands to visit Ghana in the 1970s making the experience more special and inspired the Ghanaian traditional highlife song “Kyenkyen Bi Adi Mawu” as a homage to his heritage. These 3 tracks recorded at Village Studios kicked off the entire album making process.

The title track and lead single “Beats of Zion” came out well from the Village Studios session, but was missing something on the drum tracking. Rocky states, “We traveled to Zanzibar for a concert shortly after the recording session. At the time, I was still wanting the full African tribal effect that I had imagined. On the eve of my concert at the amazing Sauti za Busara Festival, we saw Batimbo Percussion Magique of Burundi mount the stage and blow the minds of everyone in the audience. I turned to my manager; Cary Sullivan who was also watching and we thought the same – ‘these are the guys for Beats of Zion’ and so the story unfolded.” The lead single will also have an accompanying video due out early January. “Wickedest Sound” is another song that speaks volumes, featuring Ghanaian dancehall star Stonebwoy. The track combines elements of modern Afrobeats with Reggae music. With production paying homage to the organic recordings of classic Highlife music, it also combines a groove driven melodic approach with the traditional call and response style of singing.

“Kyenkyen Bi Adi Mawu” is a sprawling remake of the Highlife classic originally recorded by Ghanaian maestro K. Frimpong. This re-imagined version pays homage to Rocky’s Ghanaian legacy and he brought in an international cast of musicians from the US, Belize, Cuba, Ghana and Brazil to expand the traditional sound boundaries of this track. Ghanaian lyricist Sarkodie’srap melds current traditional pop elements to make this song an opus of sounds, harmonies and sweet melodies. “Let’s Go” fuses pop sensibilities, Reggae and the grooves of New Orleans to create a feel good anthem of forward mobility and positive vibrations. The hand claps add an organic Gospel feel to this exhilarating song. Other tracks that show more dimensions to the album include the Cumbia inspired dancehall track “Freedom Train” featuring Argentinian Dancehall star Alika and “Burn One” that is an homage to the social transformative power of the legalization of marijuana in the spheres of medicine, recreational use and as a primary tool for economic emancipation. There will be beautiful high quality videos coming out for many of the tracks on the album including “Elevation” which was shot on location in southern India. It is an inspirational groove filled with a message of hope and uses the traditional Rastafarian Nyabinghi sounds. “Champion Arise,” a track that easily fits into the current roots reggae revival sound, paints a spiritual picture with biblical imagery and inspirational lyrics about spiritual warfare for the upliftment of all people. The diversity and features found on the new album are in step with Rocky’s vision of constantly evolving the boundaries of his sounds and expanding its global palettes and reach.

In a time when divisive rhetoric is on the rise and the political climate prefers to build walls over bridges, Rocky’s album Beats of Zion is a refreshing message about global unity and a worldview of oneness. Rocky passionately states, “We live in a time when the elements of international morality need to be proclaimed as a guiding principle for how we engage and deal with each other, between individuals, between communities and among nations. It is a time for global mobilization for action on challenging socio-political issues like the environment and the refugee crisis. Beats of Zion is the drumbeat of war against apathy and re-energizing the forces of love and hope.” He concludes, “Beats of Zion is the rhythm of change beating from a distance and getting louder to awaken positive consciousness.”

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Jamie Saft, Steve Swallow and Bobby Previte redefine the organ trio on their third release -You Don't Know The Life


Over the last three decades, visionary keyboardist, producer and composer Jamie Saft has made a career out of reinvention. His genre-obliterating range is evidenced by the stunningly diverse innovators with whom he's collaborated - a list that includes John Zorn, Beastie Boys, Bad Brains, John Adams, Iggy Pop, Donovan, and The B-52s. Now, on his third RareNoise outing with avant-jazz greats Steve Swallow and Bobby Previte, Saft shifts his iconoclastic focus to the organ trio tradition. You Don't Know The Life finds the trio engaging in uniquely electrified explorations of original compositions, free improvisations, and generation-spanning standards.

"It's always such an honor and a pleasure to get to make music with masters like Steve Swallow and Bobby Previte." Saft says. "The sound of the Hammond organ really resonates with Steve's gorgeous sound and with Bobby's very unique tonal approach to the drums."

Saft, Swallow and Previte came together for the first time to record 2014's The New Standard, which featured a taste of Saft's Hammond work alongside his acoustic piano virtuosity. The session, at the keyboardist's own Potterville International Sound studio in Kingston, New York, was the first meeting for Saft and Swallow, though the bassist had worked with Previte for decades, and the drummer had given Saft some of his earliest opportunities. Their like-minded sense of adventure resulted in an instant, visceral chemistry, and the trio reconvened three years later for the all-piano date Loneliness Road, highlighted by three vocal contributions from punk icon Iggy Pop.

With You Don't Know The Life, they take another left turn into untraversed territory, leaving the acoustic piano behind to craft an organ-centered sound that is equal parts psychedelic soul, monolithic rock and definition-skirting jazz, fused together seamlessly in a unified voice that references the past as hints of profound memories or half-forgotten dreams while venturing fearlessly forward down shadowy, alluring hidden pathways.

While the trio is spearheaded by Saft, their music is undertaken with a truly collaborative spirit. The keyboardist initiates the material - in this case an eclectic blend of skeletal originals and Saft's singular take on what constitutes a standard. As he explains, "The term 'standards' to me covers a lot of ground: everything from traditional jazz standards, show tunes and great compositions from the jazz world, but also the popular music of my youth - ZZ Top, Joni Mitchell, Bob Dylan, Stevie Wonder."

The pieces on You Don't Know The Life run the full expanse of that gamut. The album opens with a bona fide jazz classic, Bill Evans' "Re: Person I Knew." Ushered in by Previte's shuffling rhythm, Saft essays the tune on the Baldwin electric harpsichord. The rare but gorgeous sound has been used by such pop experimentalists as the Beatles and the Beach Boys, and in Saft's hands immediately unsettles the listener with an unusual sound somewhere between Hammond organ and electric guitar.

"Ode to a Green Frisbee" is a typically eccentric offering from the pen of trombonist/composer Roswell Rudd, who had passed away just weeks before You Don't Know The Life was recorded. Rudd was a pivotal figure for both Saft and Swallow; the former had collaborated with him near the end of Rudd's life, while Swallow had worked with him decades earlier, playing Dixieland jazz and accompanying piano giant Herbie Nichols.

"Roswell occupied a very particular place in the music," Swallow recalls. "He had his own little room in the house, way up in the attic somewhere. He had a really singular voice but was deeply aware of the historical context of the music. So if Roswell's in the air, then that sense of the music's grand procession over a century or so is in the air too, and you have to play that."

The title track is a late-60s nugget by guitar wizard Billy Gibbons' pre-ZZ Top psychedelic blues band, Moving Sidewalks. "That is one of the essential, critical pieces of music that formed my musical identity," Saft lauds. " Billy Gibbons is a master of his instrument in the same way that these great jazz masters are. I wanted to find tunes that were soulful, important pieces of music to me that would also resonate with Steve and Bobby. 'You Don't Know The Life' creates this trance-like space that I thought it would be just a perfect vehicle for the trio."

The track is also a prime example of Previte's consummate and endlessly creative arranging skills, a role he's undertaken with the unspoken agreement of the trio. "I immediately hear arrangements when I have music in front of me to mold," Previte says. "Without it being discussed, we've come to a working relationship where Jamie brings in these tunes and I pipe in because I just can't help myself. I think it brings something different to his tunes and to a lot of the free playing that we do."

A sly and subversive "Moonlight in Vermont" starts off in unexpectedly traditional fashion, suitable in sound and rhythm for an elegant ballroom before Previte's disruptive rhythms begin to take on a mind of their own. A wistful read of the Burt Bacharach / Hal David classic "Alfie" ends the album on an unironically lovely note, run through with Swallow's lyrical bass melodies.

Swallow is particularly drawn to Saft's minimal compositions, which he praises for being provocative enough to fuel them to travel improvisational paths while leaving plenty of space for them to veer off in unexpected directions. "Jamie is the architect of the building that our music inhabits," the bassist says, "but what's most attractive to me is that it's possible to move fluidly in the music pretty much anywhere you want at any given time and it seems to work. Unlike many writers I know, Jamie brings his music to the table and then runs away. He really doesn't care if we just rip his songs to shreds and reassemble them - in fact, he's a willing accomplice in doing that."

A pair of tunes were created in that fashion on the new album: an avalanche of sound known as "The Cloak," and "Stable Manifold," a prismatic refraction of a classic Hammond B3 soul-jazz groover. You Don't Know The Life also features three freely improvised excursions, that reveal the trio's gift for conjuring compelling structures in the moment: the brooding sludge of "Dark Squares," the cinematic tent-revival soul of "Water From Breath," and the airy transcendence of "The Break of the Flat Land." Saft explains, "Steve and Bobby are at such a high level, you don't have to give them anything. We have a beautiful friendship between us, so that just spills right out like a conversation in our improvising."

This time out, that conversation took place in a different setting than the trio's past meetings. Always conceiving of a project from the production standpoint as well as from a musical perspective, Saft chose to alter the landscape in which the recording took place. Stepping outside of his own home studio, he opted for Sear Sound, one of the last great recording studios in Manhattan. Founded by the ground-breaking engineer Walter Sear, the room has hosted notable recordings by the likes of David Bowie, John Lennon, Stevie Wonder, Björk, Lou Reed, Wayne Shorter, Steely Dan, John Zorn, and countless others.

"Sear Sound is one of the temples of producing music," Saft says. "Walter Sear was a master and an influence on thinking about how we capture music, and Sear Sound is one of the few rooms left where you can do that at the absolute highest level. Being in that room, you absolutely feel the history."

"The ghost of all the great music that's been played in that room over the years is definitely present," Swallow concurs. "It was kind of a shocking change in environment, and I think Jamie figured on that helping to move the center of the music a few feet off of where it had been before."

Throughout You Don't Know The Life, it's clear that some form of alchemy was achieved in the studio that day, whether as a result of the unparalleled artistry of the trio, the sum of each individual's voraciously searching personality, the spectral presence of the legendary voices who'd passed through Sear Sound before them - or, most likely, the combination of all of those uncommon factors.

Saft is quick to credit the limitless imaginations of his bandmates/mentors/collaborators for the enlivening spark that brings this vital music to such bold life. "Both of these guys have such a unique voice that when we improvise we redefine the parameters of what we do," he concludes. "Though they satisfy all the requirements of the particular musical situation, they never fall back on the obvious. Steve Swallow's mastery of lyrical soloing really stands out on this record. There's so much pure melody in his soloistic moments; you're hearing something from his deepest soul. Bobby Previte always strategizes something deeper than the obvious. He's a master of creating something new but tied to the history. That's why I'm so lucky to make records with these guys."

TRACKS
1. Re: Person I Know 
2. Dark Squares
3. Water From Breath
4. You Don't Know The Life
5. Ode To A Green Frisbee
6. The Cloak
7. Stable Manifold
8. The Break Of The Flat Land
9. Moonlight In Vermont
10. Alfie 

 

Brazilian Multi-Instrumentalist Pedro Martins Collaborates with Kurt Rosenwinkel as Producer on New Album VOX


Multi-instrumentalist and guitarist Pedro Martins – the 25-year-old Brazilian musical prodigy and laureate of The 2015 Socar Guitar Competition at the 49th Montreux Jazz Festival – continues to further the Kurt Rosenwinkel-led musical journey of Heartcore Records with his new album VOX (available February 8). Produced by Rosenwinkel, VOX is a bold musical statement with Martins serving as the principle composer and arranger as well as writing most of the lyrics.

In addition to Martins showcasing his multi-instrumental skills by playing guitar, piano/synths, bass, drums, percussion, flute and singing in falsetto, he is joined by an all-star cast of supporting musicians: Brad Mehldau, Chris Potter, Kyle Crane, Federico Heliodoro, Antonio Loureiro, and Oscar Azevedo. “This album is like a book of stories that have happened in my life,” says Martins. “What you can hear is actually my inner voice narrating those stories through the medium of music.”

The 13 jazz-inflected Brazilian rock songs on VOX are a result of a two-year long recording, writing, and production process between Martins and Rosenwinkel. Though this is Martins' first album for Heartcore Records, his relationship with Rosenwinkel has a deeply rooted past, with Martins discovering an early demo of a song that ended up on Rosenwinkel’s critically acclaimed release Caipi (a story that must be heard from Martins and Rosenwinkel directly to understand the serendipitous nature of this collaboration). Coming full-circle, Martins is now a featured member of Rosenwinkel’s Caipi band and contributed guitar, keyboards and voice on the 2017 album.

Altogether, VOX is a deeply personal and complex journey where the listener is invited to join Martins in his wonderful world of narrative driven sound, making this the perfect collection to the Heartcore Records discography.
Pedro Martins · VOX
Heartcore Records · Release Date: February 8, 2019




Jazz Funk Soul Kicks Off New Year With Life And Times , Paying Homage to Founding Member & Guitarist Chuck Loeb & Welcoming New Member Paul Jackson Jr.


"Chuck Loeb - we could not have continued this journey that you have helped us begin without the spirit that you left with us. Your memory, musicality, and Zen-like quality was imparted on both Jeff and I so much that all we need to ask is 'What would Chuck do?'  We miss you dear friend. By continuing we will always honor your memory." - Everette Harp

"Getting to know Chuck and working with him in JFS (Jazz Funk Soul) was really a blessing. I miss him very much but I'm so glad I had the chance to get to know him both personally and musically. He was a very sweet guy who was very funny  and a pleasure to work with.  He was incredibly musical and had superior chops, both as a songwriter, producer and as a jazz guitarist.   We had a great relationship as cowriters and he would always inspire me to come up with my best ideas because his musicality was at such a high level." - Jeff Lorber

"Chuck, you're one of the best musicians and best people I've ever met. I speak in present
tense because you are not gone, you just are not here. I miss you and look forward to
making music with you in heaven."- Paul Jackson Jr.

In 2014 three of Contemporary Jazz's primary architects - Grammy winning pianist and keyboardist Jeff Lorber, Grammy nominated saxophonist Everette Harp and the late Grammy nominated guitar wizard Chuck Loeb joined forces to create the supergroup Jazz Funk Soul. These three chart-topping luminaries collectively have sold millions of records, amassed numerous prestigious industry awards and produced or shared the stage for some of the biggest names in music including U2, Bob Dylan, Aretha Franklin, Miles Davis, Stan Getz, The Isley Brothers, Billy Joel and Chaka Khan, to name a few.  Lorber, Harp and Loeb formed the group after logging many hours on the road and onstage with one another.  They made it a mission to recreate the high octane energy that their fans have enjoyed in their live shows on CD. Their eponymously titled debut came in 2014 and was followed by More Serious Business in 2016.  The world mourned the loss of guitarist, producer and composer Chuck Loeb on July 31, 2017. Loved not only for his superb musicianship by musicians and fans alike worldwide, Loeb was equally adored for his gentle and beautiful spirit.  Life And Times, to be released on Shanachie Entertainment on January 25, 2019, celebrates the eternal inspiration and legacy that Chuck Loeb left behind and unites Lorber and Harp with guitarist Paul Jackson Jr. The exhilarating ten track set assures us that the journey continues and reaffirms the precious gift of all of our Life And Times.


GRAMMY® Award-winning Vocalist Catherine Russell to Release New Album, Alone Together


Alone Together, vocalist Catherine Russell’s seventh studio album as a leader, is a search for truth. Drawing on composers and lyricists of The Great American Songbook—Irving Berlin, Eddie de Lange and Jimmy Van Heusen—along with songwriters from the Swing and Rhythm & Blues eras—Nat Cole, Louis Jordan, and Al Dubin and Harry Warren—Russell invigorates their creations. At the center is Russell’s voice, and while comparisons to Ella, Billie, Sarah, and Dinah abound—while flattering—she has a sound all her own. “Blues infused jazz tunes are the ones I gravitate towards, because they enable me to freely express myself in the moment,” says Russell.

Catherine Russell is a native New Yorker, born into musical royalty. Her father, the late Luis Russell, was a legendary pianist/composer/bandleader and Louis Armstrong's long-time musical director. Her mother, Carline Ray, was a pioneering vocalist/guitarist/bassist who performed with International Sweethearts of Rhythm, Mary Lou Williams, Sy Oliver, and countless others.

The songs on Alone Together ask timeless questions. Russell’s curatorial skills shine brightly with thirteen compositions, from the obscure to familiar standards. The title track, written by Arthur Schwartz and Howard Dietz, is full of hope that if everyone sticks together, we can overcome whatever is in front of us.

On her current outing, Russell embarks on a yearning quest. A philosophical mood pervades the proceedings, even when the singer gives in to her penchant for having fun. In “You Can’t Pull The Wool Over My Eyes,” a popular tune in 1936 among swing era big bands, this “honey lamb” won’t give in to deception. “Honesty is a good thing, and that’s what this tune is about,” says Russell. “And you can’t fool me.”

Russell continues with blues tunes by Louis Jordan: “Early In The Morning” and “Is You Is or Is You Ain’t My Baby.” “Louis Jordan to me is pure fun, comical, bluesy and rhythmic,” Russell says. “The rhythm & blues era reminds me of having a good time with people.” An undeservedly obscure, long forgotten gem, “He May Be Your Dog, But He’s Wearing My Collar,” originally recorded by blues singer Rosa Henderson in 1923, declares that “a lie is some disgrace,” to which our heroine won’t abide, reaffirming the importance of honesty.

A thread of questioning continues through tunes like Irving Berlin’s classic “How Deep Is The Ocean?” and “When Did You Leave Heaven?” by Walter Bullock and Richard A. Whiting (previously covered by Little Jimmy Scott, Louis Armstrong, and Nancy Wilson), which receives Russell’s heartfelt, take-no-prisoners reading. “We don’t have the answers,” notes Russell. “How much I love you can be infinite, as infinite as the universe, and it’s an open-ended emotion.”

Alone Together features the core musicians of Russell’s touring band, including guitar virtuoso and musical director Matt Munisteri, pianist Mark Shane, bassist Tal Ronen, and drummer Mark McLean. Together, they’ve visited four continents appearing on major festivals, while also selling out concert halls from SFJAZZ’s Miner Auditorium in San Francisco, to Zankel Carnegie Hall in New York City, to Tchaikovsky Hall in Moscow.

Catherine Russell combines a pedigree, where classic jazz & rhythm and blues run through her veins, with the sensibility of a lifetime in popular music. On Alone Together, an intoxicating brew emerges. The connections are real and natural, never forced, always true.

Co-producers Katherine Miller, Paul Kahn and Catherine Russell—the team behind Russell’s previous album, Harlem On My Mind (2016), a GRAMMY® Award-nominee for Best Jazz Vocal Album—are reunited for their fifth album together on Alone Together. The winning streak started with Inside This Heart of Mine (2010), which reached #1 on JazzWeek and Roots Music Report radio charts, also charting on Billboard and reaching #1 on iTunes and Amazon jazz charts. Strictly Romancin’ (2012) was awarded Prix du Jazz Vocal (Vocal Album of The Year) by the French Jazz Academy, Grand Prix du Hot Club de France, and a Bistro Award for Outstanding Recording. Her fifth solo album, Bring It Back (2014), received a 5-star review in DownBeat.

Russell is also a featured vocalist with today’s leading big bands and symphony orchestras. She has toured with Jazz at Lincoln Center Orchestra with Wynton Marsalis, and appeared with the Count Basie Orchestra, Andy Farber and His After Midnight Orchestra, Knoxville Jazz Orchestra, Jazz Philharmonic Orchestra of St. Petersburg, Russia; Miami’s New World Symphony, and The Pasadena Pops Orchestra conducted by Michael Feinstein. In addition, Russell has joined forces with the great guitarist, vocalist and raconteur, John Pizzarelli, performing a salute to Billie Holiday and Frank Sinatra, titled “Billie & Blue Eyes,” which has become a smash hit on the performing arts circuit.

Russell’s professional life began early. After graduating with honors from the American Academy of Dramatic Arts, she was fortunate to work with David Bowie, Steely Dan, Cyndi Lauper, Paul Simon, Jackson Browne, Michael Feinstein, Levon Helm, Wynton Marsalis, Rosanne Cash, and jazz-blues vocalist Carrie Smith, among others. Performing as a backup singer, multi-instrumentalist, and lead singer, before launching her solo recording career, Russell has appeared on over 200 albums. In 2012, she received a GRAMMY® Award as a featured artist on the soundtrack of the HBO TV series Boardwalk Empire. She performed the award-winning song, “Crazy Blues,” on PBS’s Great Performances special, GRAMMY® Salute To Music Legends 2017.



Thursday, December 20, 2018

CANNONBALL ADDERLEY SWINGIN' IN SEATTLE: LIVE AT THE PENTHOUSE Official Release of Previously-Unissued Recordings

Reel to Real Recordings is proud to announce the label's co- inaugural release, Swingin' in Seattle: Live at the Penthouse (1966-1967), a scintillating set of previously unissued live recordings of the Cannonball Adderley Quintet featuring Cannonball's brother and cornetist Nat Adderley, pianist Joe Zawinul, bassist Victor Gaskin and drummer Roy McCurdy recorded over the course of 4 nights between 1966 and 1967 at the legendary Penthouse jazz club in Seattle, Washington. This is the very same band that recorded the classic Mercy, Mercy, Mercy! Live at "The Club" album on Capitol Records on October 20, 1966, and it captures the quintet in rare form at the height of their most powerful swingin'. 

Back in the spring of 2016, producer (and co-president of the acclaimed archival jazz label, Resonance Records) Zev Feldman met up with Canadian jazz impresario and saxophonist Cory Weeds for a series of shows at Frankie's jazz club in Vancouver centered around a series of historical releases on Resonance. It was during this time that the seed was planted of them starting a new label dedicated to finding and preserving important historical jazz recordings. Zev Feldman explains, "Cory was fascinated by the idea of unearthing previously unheard archival recordings by great jazz artists. There are so many great recordings out there that deserve to be heard and Cory wanted to offer up another home for them. When I mentioned to him in passing that I had come across some Cannonball Adderley tapes from the 1960s a while back, he was immediately interested in seeing how he could release them on what would become his new label venture, Reel to Real. To say he was excited by the prospect is a major understatement."

Cory Weeds says, "Cannonball Adderley's music has had a great impact on me as musician, not only as a saxophonist but as a frontman communicating with an audience. Swingin' in Seattle gives the listener a good idea of what it was like to be in the presence of this great musician at one of his shows. I'm so thrilled to have had the opportunity to work with Zev's team to give this release the deluxe treatment it so deserves." 

The deluxe double-LP and CD packages for Swingin' in Seattle are beautifully designed by longtime Resonance Records designer Burton Yount, and include extensive booklets containing rare photos by Lee Tanner, Tom Copi and others. Music journalist and veteran liner note writer Bill Kopp contributes the featured essay placing Cannonball's music in historical context. Seattle radio DJ and the original engineer of the Penthouse, Jim Wilke, is interviewed by Seattle-based saxophonist and jazz writer Steve Griggs about what the scene was like at the Penthouse in the 1960s and about Cannonball's relationship to the club over the years. And rounding out the packages are words form Cannonball's widow and head of the Julian Adderley estate, Olga Adderley Chandler, and acclaimed saxophonist Vincent Herring.

Jazz collectors may already be familiar with the name Jim Wilke from two other recent archival recordings on Resonance Records - Groovin' Hard by The Three Sounds feat. Gene Harris and Smokin' in Seattleby Wes Montgomery & The Wynton Kelly Trio. Wilke had a front-row seat for countless shows at the Penthouse he captured between 1962-1968 for his radio broadcasts on KING- FM. He describes the Penthouse broadcasts as, "really old-school radio - live broadcasts on location. People heard great music played right as they listened in their cars and they'd come to the club to catch the second set." Cannonball Adderley played the Penthouse 8 times during the club's 6- year run, and was one of its most popular acts. 

For a glimpse into the personal side of Cannonball, Zev Feldman interviewed his widow, Olga Adderley Chandler, a former actress who was married to him from 1962-1975. Chandler describes Cannonball as, "Very intelligent. He had eclectic taste. And he was very articulate and very witty. And very sweet to be with." Drummer Roy McCurdy adds, "He was very smart. Not just about music but lots of different things. He had a big personality. His stage banter came from being an educator. He wanted the audience to be informed. He wanted to involve them."

Cory Weeds interviewed fellow saxophonist Vincent Herring, who has recorded with Nat Adderley's quintet and the Cannonball Adderley Legacy Band, to shed light on what impact Cannonball has had the generations of saxophonists that came after him. Herring explains, "Cannonball could play something and it was so sophisticated for all of us jazz snobs, but at the same time, for the down-home folk, it felt just right."  

"A big part of my job is to find homes for important recordings such as these," says Zev Feldman at the close of his liner note essay. "Not everyone is up to the task of going through all the steps it takes, but I'm thankful to have found a passionate partner in Cory Weeds who shares my dedication and vision to do this important work the right way." 


Record Kicks announces the signing of Alexis Evans and the release of a new album by the French enfant prodige of Soul/R&B in 2019


Record Kicks is proud to announce the signing of Alexis Evans and the release of a new album by the French enfant prodige of Soul/R&B in 2019.

Heading from Bordeaux, the Anglo-French Alexis Evans is not a newcomer in the music scene. He discovered Afro-American music as a child and learnt to play guitar thanks to his father, an English musician. At the age of 17 he debuted with his first project “Jumping to the Westside”, with which he was awarded the “Cognac Blues Passion” prize and flew to the “International Blues Challenge” in Memphis, Tennessee.

Soon after in 2016 he exploded onto the French scene with “Girl Bait”, his astonishing debut album that hit the airwaves of FIP, France Bleu, and Jazz Radio amongst the others. Despite his young age Alexis Evans has already built a household name, touring extensively his country with explosive live sets at RDV Erdre Nantes, Rhino Jazz St-Etienne, Lyon Ninkasi, Club Nubia Paris, Festivals Relâche Bordeaux, Jazz à Vienne as well as Festivals in England, Estonia, Switzerland and Wales. 

Fans of James Hunter Six and Stax Records watch out, prepare yourselves for a contagious electric discharge.
"His guitar is full of sobriety and evocative power"
Soulbag
"An innovative music rich in swing to discover as quickly as possible" 
Jazz Radio


New Music Releases: Ella Fitzgerald & Louis Armstrong - Cheek To Cheek: The Complete Duet Recordings; The Public Opinion Afro Orchestra - Naming & Blaming; Unit 3 Deep – Groove Theory


Ella Fitzgerald & Louis Armstrong - Cheek To Cheek: The Complete Duet Recordings

All of Fitzgerald and Armstrong’s classic duets are in one place: Cheek To Cheek: The Complete Duet Recordings, a new 4CD and digital set available for the first time! The 75-track collection gathers their three timeless Verve Records albums – newly remastered versions of Ella and Louis, Ella and Louis Again, and Porgy and Bess – along with all of their Decca singles, live recordings from Jazz at the Hollywood Bowl, recorded as a warmup for Ella and Louis , plus several alternates and false starts from the Decca and Verve eras, illuminating their craft and good humor.
  
The Public Opinion Afro Orchestra - Naming & Blaming

Inspired by the infectious afro-beat music of Nigeria and its neighbors, The Public Opinion Afro Orchestra delivers contemporary African funk to Australian dancefloors. This mammoth ensemble comprises musicians hand-picked among the finest in Melbourne’s music scene. The experience and creativity of these established musicians energize the group’s original compositions and the sound of the entire band is a force to be reckoned with. The Public Opinion Afro Orchestra’s powerful MCs and tribal rhythms are the modern- day ‘musical weapon’ that Fela Kuti conceived of. Their conscious lyrics and West African grooves are relevant today, while remaining faithful to the message of afro-beat. The group is the brainchild of Zvi Belling, Ethan Hill (aka DJ Manchild) and Tristan Ludowyk who are long- time friends and musical collaborators, each with vast and diverse musical backgrounds to draw upon. The band’s directors recently travelled to Africa to promote the new single and recorded with African hip hop stars Tumi (South Africa) and Modenine (Nigeria). These artists feature on the band’s self-released debut album from 2010 “Do Anything Go Anywhere”, which wass nominated for an Aria award for “best world music album”. The full-length was accompanied by a 12” vinyl release that sold out in record time

Unit 3 Deep – Groove Theory

Unit 3 Deep's debut release titled "Groove Theory" ...Jazz Roads - “It’s a bit like listening to the Return To Forever and the Mahavishnu Orchestra translated into 2018" “If the Headhunters and Parliament Funkadelic had a baby, Unit 3 Deep would be their love child" Unit 3 Deep is comprised of a uniquely talented trio and highly sought-after professional musicians: pianist, producer and songwriter Patrick Cooper; bassist, songwriter, arranger and producer David Dyson; and drummer and producer Duane Thomas. Although the trio has collaborated for years on varying musical circuits, they have been playing together as Unit 3 Deep since 2015. With each contributing their own musical prowess and vast experience, it’s not hard to comprehend why these three seasoned talents came together to bring what they call musical “gumbo” to life. The question is simply: Why did it take so long? www.unit3deep.com "



John Raymond & Real Feels Document a Stellar 2018 With Real Feels Live Vol. 2, Recorded Live in Los Angeles


An aspect of the jazz music business that tends to be ignored is touring. There are only so many venues with budgets and a limited supply of booking agents. Artists who manage to find both are either popular sensations or lucky, especially in a country as vast and diverse as the United States. It takes a lot of motivation, courage and a devil-may-care attitude to set out solo on the road, and since 2016, rising star trumpeter/flugelhornist John Raymond has done just that with his trio Real Feels, self-booking an astonishing 100+ performances with the band over the past three years.

From the beginning, Raymond’s goal with Real Feels was to create a small, focused ensemble with a strong band dynamic and identity. Alongside guitarist Gilad Hekselman and drummer Colin Stranahan, the group has recorded three albums together, including 2018’s Joy Ride on Sunnyside Records. As they have done for previous records, Real Feels hit the road for an extended four-month, 40-date tour that allowed their material, along with the ensemble, to grow and refine itself. Raymond recorded a handful of their concerts, and chose the music from their performance at the Blue Whale in Los Angeles, which is now being released as Real Feels Live Vol. 2 (January 18 via Sunnyside Records).

When Real Feels recorded Joy Ride, each track was in nascent form, some only having been played in rehearsals. By the end of the tour, which spanned across the United States and Asia at venues of all types and sizes -- with audiences of all description -- the songs began to develop new personas. Each song, in a sense, was born again from the road, which is showcased fully on Real Feels Live Vol. 2.

The album begins with Raymond’s “Follower,” a modern jazz-meets indie rock tune that features Raymond the entire way. The groove is a bit faster and has more of a “lived-in” feel than it's studio version original, making for a fitting opening statement to the album. The group’s cover of Bon Iver’s “Minnesota, WI” opens up for both Hekselman and Stranahan. Their development of the introduction along with Hekselman's solo showcase the full capacity of the band’s aural identity featuring more electronics, effects and looping. This can also be heard on the group’s rendition of the hymn “Be Still, My Soul.” The song notably begins with an expansive, ambient solo introduction from Raymond utilizing effects pedals and looping on his flugelhorn, an added aspect of his arsenal that is now an integral part of the band’s sound.

Hekselman’s plectral guitar musings set the stage for Raymond’s plainchant horn on the intro to the title track “Joy Ride,” done here as an expanded version of the original and featuring an extended drum solo by Stranahan. The album concludes with the group’s take on Bob Dylan’s “The Times They Are A-Changin’,” a piece that remains as vital today as it was when originally conceived, and is done here in a heartrending rendition by a simpatico ensemble of sensitivity.

Raymond notes Real Feels Live Vol. 2 is, “the strongest, most cohesive statement this band has made yet.” Combined with the fact that he has become a model to many of his peers as to what a successful, DIY-bandleader should look like, the trajectory for Raymond and the group continues to reach higher and higher.
  
Originally from Minneapolis, Minnesota, John Raymond is making a name for himself as one of the most promising, genre-bending musicians in jazz today. With a singular voice as a trumpeter, flugelhornist and composer, Raymond is “steering jazz in the right direction” says DownBeat, by pushing its boundaries, seamlessly incorporating indie-rock, folk and electronic influences into his music. Something Else! Reviews states, “This is jazz, yes, but jazz with an open mind."

Raymond’s primary band Real Feels is a bass-less trio which includes rising stars Gilad Hekselman (guitar), Colin Stranahan (drums) and Raymond on flugelhorn. The group has released four albums together since 2016, all receiving high praise from Stereogum, The New York Times, DownBeat and JazzTimes among others. Their warm, lyrical melodies are complemented by an infusion of electronics and effects, giving the group a sound that is entirely accessible and relevant. Add to this the deep chemistry between the musicians, and it’s no surprise that Real Feels is one of the hottest new groups in jazz today.

John Raymond & Real Feels · Real Feels Live Vol. 2
Sunnyside Records · Release Date: January 18, 2018






Los Angeles-based singer/songwriter Sy Smith has a new release - a holiday mix aptly titled “Christmas In Syberspace


Los Angeles-based singer/songwriter Sy Smith surprises fans with a new release - a holiday mix aptly titled “Christmas In Syberspace”. As the project title suggests, Sy delves back into her electro-futuristic-soul roots with this endeavor; sonically reminding listeners of her underground roots (think of her 2005 release “The Syberspace Social”). Clocking in at just under 14 minutes, this ep is like a digital stocking stuffer - and Sy is giving the ep away for free on Bandcamp (but listeners can also purchase it at iTunes, Google Play, Amazon Music, and it’s available on all major streaming platforms after November 25, 2018).

For the production of “Christmas In Syberspace”, Sy tapped Nashville drummer/producer Isaac “Bam” Richardsonwhom she met… well… in syberspace.  “Isaac contacted me on Facebook about a year ago and told me he was a big fan of my work. He said he was a producer, just getting started and wanted to send me some tracks. I told him, maybe kinda bluntly, that I really wasn’t looking for tracks at that time, I was knee-deep into 'Sometimes A Rose Will Grow In Concrete' and to hit me up next year.  Well, he dropped me a message again this year, about two months ago. So I listened to his ideas and REALLY liked what I heard. I think after arranging and recording background vocals for John Legend’s ‘A Legendary Christmas’ album, I was inspired too! So, I recorded 'Christmas Time Is Here' to Isaac’s track, and then asked him if he’d be interested in doing a whole project with me!” Isaac and Sy tag-teamed this mini-album via the internet (the two have never met in person) - agreeing on songs, exchanging ideas and building on arrangements. “I really enjoyed working with Isaac. He’s got such a wonderful ear for core elements. He really colors with sound! This is his first R&B project, but I suspect that after hearing this, some of my fellow artists are gonna want get his info from me!”

“Christmas In Syberspace” features three holiday favorites dispersed with some creative interludes. After the “Hark! The Intro” sets the subdued mood for this holiday set, Isaac’s children anxiously tell him what gifts they hope to receive, then Sy’s familiar bell-tone soprano voice gently asserts Vince Guaraldi’s “Christmas Time Is Here”. She capitalizes on this popular melody by staying true to it, but then Sy adds a soulful refrain encouraging listeners to take the spirit of the holiday with them all year long. After another sweet interlude, Sy boldly takes on “The Sound Of Music” classic “My Favorite Things”by reworking the lyrics to truly reflect on HER favorite things:
“Shoes with fat laces and oversized glasses
Watching my people rise up from the ashes
Sharing a smile with that guy on the train
These are a few of my favorite things…”

After another interlude reworks a popular holiday carol (all the interludes do this), this ep closes with a foot-stomping “Little Drummer Boy” which Sy arranged and co-produced, reminding us that she does this pretty well too (she wrote/produced her entire latest lp “Sometimes A Rose Will Grow In Concrete” to rave reviews and 3 SoulTracks nominations). Isaac Richardson shows off his strong and steady, pocket (his church roots coming through loud and clear) with the head-snapping live drums, and Virginian trumpet player Duane Smith (of Hampton’s The Fuzz Band) provides a tasty horn arrangement.

Sy will be touring for the rest of the year with Grammy-winning trumpeter Chris Botti as a featured guest (as seen recently on his critically-acclaimed PBS special “Great Performances). Her tour dates with him include upcoming shows in Toronto, Boston and New York at the Blue Note for 14 nights. Sy will resume her solo dates in 2019 as a featured artist on the (already long sold out) Capital Jazz Supercruise! 


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