Monday, February 21, 2022

Lagartijeando | "La Tercera Vision"

Arriving two years after his last full-length effort (“Jallalla”), Lagartijeando (aka Mati Zundel) once again returns to Wonderwheel with an expansive new album, “La Tercera Vision.” A maturation of the Lagartijeando sound, “La Tercera Vision” (“the third vision”) sees the Argentinian wade into uncharted, if sonically familiar waters, bridging his Andean inspired electronic-folk with psychedelic ambience, West African instrumentation, and even a few moments of pop melodies. The beauty of Lagartijeando’s work is its ability to marry seemingly unrelated styles and sounds to something seamless and wholly original.

“Isla de Sol,” the opening track, introduces the album with a taste of Mati’s classic sound: Andean pan flute, the familiar chugging rhythm of a cumbia beat, luscious string arrangements, and a sampled vocal. Moving on, “Mano de Fatima” (the project’s second single) sees a fusion of traditional Moroccan Gnawa instrumentation with digital cumbia rhythms, featuring the work of Khalil Mounji on vocals and guembri (aka sintir, the three-stringed, skin-covered lute used in Gnawa music). Eva de Marce - a singer-songwriter-producer based in Madrid - takes centre-stage on “Tierra Natal,” with her vocals coming through in a rich whisper, singing a melody reminiscent of a lullaby.

At the album’s halfway mark, Lagartijeando introduces a new direction for his sound with “Onda,” a collaboration with the Brazilian artist Tagua Tagua. An earworm of a melody is sung over a joyous beat that nods to pop sensibilities while being satisfyingly infused with Zundel’s sonic DNA. It’s a gem of a tune that suggests an exciting new sound for the Argentinian. A few more collaborations close out the album, two with Mexican singer-songwriter Madeleine Bachan Kaur (“Crepúsculo” & “La Montaña Sagrada”), “Magaleña” with Javier Arce, and the album closer “Ware” featuring Sajra. Also included in the album is “Sideral Cumbia,” the first single released earlier this Summer, which has seen extensive press and radio support from the likes of Vice / Noisey, Electronic Groove, Sounds And Colours, KCRW (“Today’s Top Tune” & “Morning Becomes Eclectic”), and KEXP, as well as landing a spot on Spotify’s “Fresh Dance” playlist.

Lagartijeando is the name of producer, musician and DJ Mati Zundel. Strongly influenced by his travels throughout Latin America, Mati's signature psychedelic dance tracks latch onto everything from traditional folk sounds from the Bolivian altiplano to the jungle beats of Brazil. Mati hypnotically fuses his traditional influences (with an emphasis on shaman chant and charango loops) with contemporary electronic beats, creating a sound that once left NPR speechless.

Iwan VanHetten | "Parabbean Tales"

Blue Canoe Records presents the addition of Iwan VanHetten to their Artist roster. Iwan’s latest album ‘Parabbean Tales’ was born from the concept of combining Caribbean-influenced music with contemporary jazz and funk to weave a narrative of his childhood and express the love for his native music. On his latest offering, Iwan brings together a group of Grammy Award winning musicians whom Iwan recorded the album with in L.A. UK based trumpeter, keyboardist, musical director, composer / songwriter and producer Iwan VanHetten has worked with artists including Sister Sledge, Candy Dulfer, Paco Sery, The Pointer Sisters, Anthony Hamilton, Jools Holland, Jimmy Haslip, Will Kennedy, Russell Ferrante, Gary Husband and many more. He is one of a rare breed of musicians  who have stellar capabilities on two or more instruments. 

Highlights of Iwan’s career include fifteen years as musical director / keyboards with Sister Sledge and twenty years as musical director / keyboards / trumpet / songwriter / producer with the Brooklyn Funk Essentials.  With both groups Iwan has toured worldwide, performing at countless prestigious festivals and clubs. Together with Rob Harris and Paul Turner (Jamiroquai), Iwan completes the new trio ‘TRIONIQ’. Iwan is also an active solo artist, writing, recording and producing his own solo albums. Iwan’s production credits include Joni Sledge’s album ‘Tru’. 

Iwan has directed and composed music for numerous theatre shows and is currently the musical director and composer for a series of immersive art installations around Europe. He is a passionate educator and holds a teaching position at the Royal Birmingham Conservatoire. He divides his time between producing, teaching and live performances around the world.

Iwan holds artist endorsements with Nord Keyboards, Taylor Trumpets and Torpedo bags.

Besides touring and studio work, Iwan is a passionate educator with a strong desire to pass on his knowledge. With twenty-five years of university teaching experience Iwan has held teaching positions at  BIMM,  InHolland Conservatory (Amsterdam) ACM, and currently teaches at the Royal Birmingham Conservatoire. Iwan is available for coaching sessions, workshops, masterclasses and private lessons in person and online. His areas of expertise include bandleadership, musical directing, songwriting, composing, music theory, professional musicianship, improvisation, production and mixing. Iwan’s straightforward, no-nonsense style of teaching has proven to be an effective and rewarding experience for many of his student.

‘Parabbean Tales featuring Will Kennedy - Drums; Russel Ferrante - Keyboards / Piano; Jimmy Haslip - Bass; Melvin Lee Davis - Bass; Lenny Castro - Percussion; Andy Narell - Steel Pans; Bob Mintzer - Saxophone; and Iwan VanHetten - Trumpet, Keyboards.

Christopher Parker & The Band Of Guardian Angels | "Soul Food"

This is the sound of an artist becoming what he is, manifesting what was inside him for a very long time. Of course, Christopher Parker is no newcomer to music. First mentored by pianist Charles Thomas (whose 1996 album The Finishing Touch! was recorded with Ron Carter and Billy Higgins), Parker has played piano and organ for over three decades in Little Rock, Memphis, New York, and now Little Rock again. But lately, all the musical choices he makes have been distilled down to what resonates on the most personal of levels. “The ideal is to mature and age in a way where you're ripening, rather than decaying,” he laughs, and that's at the heart of his debut album, Soul Food. 

Parker has worked the genre known as free jazz for most of his musical life, or at least since the 1990's, when he bucked the conventions of music school at the University of Memphis (which features a long list of legendary jazz alums) by playing with the likes of Frank Lowe and George Cartwright. That was also when he met his wife-to-be, Kelley Hurt, a true artistic partner, whose voice, reminiscent of Jeanne Lee, graces this album with everything from whispers to wails. 

In the years after, Parker kept playing, studying and teaching jazz, often with Hurt, and gained some local renown, but nearly five years ago a sea change came about: The couple was commissioned to write music celebrating the Little Rock Nine, heroic high school students who defied local segregationists in 1957, resulting in their No Tears Suite in 2017. That quickly led to the decidedly less-arranged free jazz outfit Dopolarians, where the couple joined Chad Fowler (Parker's old friend) and Kidd Jordan on saxophones, William Parker on bass, and the late, great Alvin Fielder on drums.  

Suddenly, the floodgates of in-the-moment creativity within Parker opened like never before, as new projects for Fowler's Mahakala Music label followed in quick succession. In one lightning bolt of a week in New York, he and Hurt recorded both Nothing But Love, a tribute to Frank Lowe, and enough tracks for both Parker's debut, Soul Food, and its as-yet-unreleased follow up. 

For Parker, a longtime gigging musician, something inside was stirred. “It was starting to happen when the Dopolarians recorded,” he says, “but I was still getting my mind together at that point. Then about a year later, the Dopolarians played in Memphis, and something clicked in my head, like I'd been waiting for years for it to happen. Soon after that, the world stopped because of a pandemic; I had time to think. And I said, 'Maybe your job on earth is not to play every week at local bars. Maybe that's not your ultimate purpose. You certainly did your time with it, but when are you gonna get down and make an artistic statement and just go there? Quit tiptoeing around it and BE IT.'”

For Parker, Soul Food is the most perfect statement of that impulse, precisely because it is the most personal. As Parker notes, “Kelley and I were friends with Art Jenkins, who sang with Sun Ra. And he used to tell us, 'When you make music, it comes from your inner spirit. People don't have any choice. They have an inner spirit too, and their inner spirit is going to recognize your inner spirit.' It's a moth to a flame kind of thing. It's gonna get a reaction, because your inner spirit is gonna speak to their inner spirit, and it's beyond the surface ego plane.” With those words to guide him, he pieced together the ensemble for Soul Food. 

An ego-less approach brought spontaneity and flexibility to the sessions. “I picked the players I did on purpose. The first day was just me, Daniel Carter (winds), William Parker (bass, shakuhachi flute) and Gerald Cleaver (drums), and Kelley. It was a quartet with some vocals. We literally sat down and just started playing. No chord charts, no nothing. Daniel, for instance, only wants to improvise. When I realized that, I said, 'Okay, I 'm not going to be in charge of anything. I picked great musicians, so what do I look like telling them what to do, anyway?'

“Meanwhile, there was a Vision Festival going on in New York at the time, during which we ran into this woman, Jaimie Branch, and we just started hanging out together, not knowing who she was. Then it turns out she's this trumpet player who's on the gig we're going to see! So we asked her to play on the record and she came the second day. And those tracks make up Soul Food.”

The absolute freedom with which they play, accentuated by Hurt's intimate vocals, redefines freedom itself. This is not the freedom of chaos, but a freedom from within. Summing up, Parker reflects, “In the last three or four years, my music has been transforming into something more personal and meaningful. 'I'm gonna make this music with purpose.' Or, as Alvin Fielder used to say 'Buck naked.' We're going out buck naked. I'm not putting up a front. It's just me. And that's really hard to do. You have to avoid narcissism. And if you really tap into that inner spirit, you will affect people when they hear you play.”

Sunday, February 20, 2022

Calibro 35: the New Trilogy in Deluxe Edition

Record Kicks presents the reissue of “Traditori di Tutti” (Traitors), “S.P.A.C.E.” and “DECADE”, respectively the legendary fourth, fifth and sixth studio albums by seminal cinematic funk combo Calibro 35 on “coloured” vinyl and in digital “deluxe” edition with bonus tracks. The reissue is part of the second series of trilogies published by Record Kicks about the Milanese band. The first trilogy, which was about the first three albums "Calibro 35", "The Return of" and "Any Resemblance", was released in 2020.

This time, Record Kicks reissues in digital deluxe format with bonus tracks and on "Crystal” vinyl of three different colors three other hard-to-find and in-demand records of the band: "Traditori di Tutti (Traitors)", the "crime-funk" debut on Record Kicks label of 2013, which will be released on all platforms and in record stores on March 4th, 2022, "S.P.A.C.E.", the space adventure of 2015, which will be available from March 25th, and the orchestral “DECADE” of 2018, to be released on April 29th. The digital Deluxe edition includes unreleased tracks and B-sides. Among the unreleased tracks available for the first time, the ones that stand out are "Milan, Michigan", the ultra-funk gem from the session of "Traditori” album and "Omicron Padadox" and "The Haploids", recorded at the legendary Toe Rag Studio in London, made famous by the White Stripes, who recorded the award-winning "Elephant" LP there. Among the B-side bonus tracks, you’ll find the explosive cover of "Get Carter" by Roy Budd, classics of any live set of Calibro 35 such as the funk track "CLBR35", the “punkish” "Gomma" and the exotica "Polymeri (Afro-Utopia Version)", all four previously released on 45 vinyl only.

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their fourteen-year career, they were sampled by Dr. Dre on his “Compton” album, Jay-Z, The Child of lov & Damon Albarn; they shared stages worldwide with the likes of Roy Ayers, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Their latest studio work is the soundtrack for the Italian television series “Blanca”, which aired on Rai 1 between November and December 2021 and which was met with enormous success from critics and the audience alike. An impressive and choral work by Calibro 35 that, by popular demand, will also be released in double vinyl format next February 18th on Record Kicks.

The Carr Center To Present Powerhouse Drummer and 2019 Doris Duke Artist Terri Lyne Carrington’s ‘Jazz Without Patriarchy Project’

The Carr Center is pleased to share the news released today by the Doris Duke Charitable Foundation’s Creative Inflections program, which is providing grants of up to $200,000 to seven jazz artists at the top of their craft to collaborate with five presenting organizations on experimental, multi-disciplinary work exploring social justice themes and expanding audiences for jazz.

The Carr Center and its Artistic Director Terri Lyne Carrington are the beneficiaries of the Doris Duke Charitable Foundation’s Creative Inflections program, a first-of-its-kind initiative to support leading jazz artists and presenting organizations in innovative collaborations that enable artists to take creative risks and expand the genre’s listenership by attracting younger and more diverse audiences.

The Carr Center will present Terri Lyne Carrington’s “The Jazz Without Patriarchy Project,” a multi-disciplinary art and music installation, conceived by powerhouse drummer and 2019 Doris Duke Artist Terri Lyne Carrington, in collaboration with the Carr Center, which explores how gender inequity has affected the jazz genre and envisions a more equitable jazz future by requiring new standards for transformation in the field.

“When I spoke to people, men and women, they would say, ‘Oh, I just didn’t notice that jazz was dominated by men,’ and I just thought that was so absurd,” said three-time Grammy Award-winning recording artist and educator Terri Lyne Carrington, reflecting on her initial purpose and vision behind “The Jazz Without Patriarchy Project.”

“We are honored to partner with the Doris Duke Charitable Foundation’s Creative Inflections program, says Oliver Ragsdale, Jr., president and CEO of the Carr Center. “Terri Lyne is a mastermind and our resident genius. ‘Jazz Without Patriarchy’ will be one of Terri’s most profound works to date.”

Each grant enables new and distinctive alliances between the selected artists and institutions to explore novel, interdisciplinary approaches to the way that jazz can be delivered to the next generation of jazz fans. The program aims to position jazz artists and presenting institutions as equal partners, support risk-taking by both artists and presenters, and cultivate audiences of millennials as jazz consumers.

The Doris Duke Charitable Foundation’s Creative Inflections also announced the following supported projects represent daring artistic work that tackles some of today’s most pressing issues, such as racism and racial justice, gender equity and sexism, and mass incarceration.

●     “In the Green Room: Layering Legacies of Asian and Black American Women in Jazz,” a collaboration among composer, vocalist, multi-instrumentalist, dancer and 2016 Doris Duke Artist Jen Shyu; award winning composer and pianist Sumi Tonooka; and the Asia Society to explore innovative ways of elevating the stories and legacies of Asian and Black women in jazz.

●     “… (Iphigenia),” a modern-era operatic adaptation of Euripides’ ancient Grecian myth composed by legendary saxophonist and 2021 Doris Duke artist Wayne Shorter with a libretto by bassist, vocalist and composer esperanza spalding, who leads a company that includes pianist Danilo Pérez and is directed by Lileana Blain-Cruz (both 2021 Doris Duke artists); debuted by ArtsEmerson.

●     “Ogresse: Envisioned,” a multimedia, animated interpretation – presented by the Walker Art Center – of a song cycle written and composed by celebrated vocalist and 2020 Doris Duke Artist Cécile McLorin Salvant, whose illustrations bring to life her musical exploration of the true story of Sara Baartman, a 19th‐century South African woman taken to Europe and put on display who now stands as a symbol of colonialist, racist and sexist exploitation.

●     “The Healing Project,” a multidisciplinary abolitionist project by pianist, composer and director Samora Pinderhughes in partnership with the Yerba Buena Center for the Arts that explores the realities of resilience, healing, incarceration, policing, violence and detention in the United States.

The definition of what jazz is and what it can be continues to evolve. Initiatives like Creative Inflections are critical to providing artists with the resources to experiment and push jazz beyond its current limits. These innovative interdisciplinary projects allow artists the flexibility to expand their creative exploration in ways that have enormous potential to resonate with younger audiences that are increasingly drawn to hybrid artistic work.


Matt Slocum | "With Love And Sadness"

With Love and Sadness, available on Sunnyside Records on March 18, 2022, was designed, recorded, mixed, and mastered as an all-analog experience (although it is also available on CD and as a high-resolution digital download for listeners who prefer those formats). The music was composed as a single work rather than as individual “tunes,” and the narrative arc is structured as a continuous whole with subplots shaped around and within the two sides of the LP. The result is as remarkable and rare as a fogbow, or a lenticular cloud; it is in accordance with Slocum’s overall aesthetic and his penchant for conveying beauty to the world, and a culmination of an immense talent (as a drummer and composer) and massive erudition. As Thomas Conrad wrote in JazzTimes Magazine (on Slocum’s Black Elk’s Dream), “A meticulous, deeply realized work, remarkable not only for its coherence as a single arc but also for its evolving, authentic poignancy...This dreamlike, lyrical, fervent, floating music is capable of erupting in joy or pain.”

 Matt Slocum is a conjurer of emotions; lament, longing, contemplation, sadness, but also joy, hope and inspiration. After five acclaimed recordings of predominantly original music, “Slocum has emerged as one of the great young jazz drummers in New York City, and therefore all of jazz,” says The Minneapolis Star Tribune. “Slocum clearly places empathy and ensemble eloquence over solo fireworks, with sublime results.” While Slocum’s music carries much emotion and meaning, it also pulls from the listener’s own thoughts and feelings. As Ken Micallef reported in DownBeat Magazine, “like Wayne Shorter’s classic Blue Note albums, Black Elk’s Dream seems to ask questions, leaving the answers open to individual interpretation.” That is one of the gifts great artists bestow on us – to stimulate the willing into a greater awareness and inspired musing. 

The structure of With Love and Sadness emerged during a trip to the Maine wilderness where Slocum reflected on the seemingly increasing depths of systemic racism in America and the possibilities for change. In his liner notes for the recording, Slocum writes, “As a result of pandemic-related closures, it was the first time my wife and I had traveled in many months. It felt like a new perspective, at least early in the journey. The shape of this composition outlines the evolution of my reflections throughout the course of that trip. The primary theme is introduced in the prelude and developed throughout the suite. Although the work journeys from B minor in the opening two movements to eventually reach D major in the final movement, most of the piece follows a sonic trajectory moving away from optimism, but clinging to a kind of blind hope and beauty (real or imagined) in our collective potential for change. The final movement, a rearrangement and development of the main theme, is inspired by Pat Metheny’s “Is This America?” It’s my understanding that Mr. Metheny composed that song as a musical response to the aftermath of Hurricane Katrina. Fifteen years later, I’m not sure that we’ve made a great deal of progress as a society.”

With Love and Sadness features Grammy-nominated pianist Taylor Eigsti, an important voice in the world of creative music and a musician whose “range of expression is not limited by illusory stylistic boundaries,” says Slocum; first-call bassist Larry Grenadier, who also appears on Slocum’s previous album, Sanctuary (Grenadier is a modern-day giant known for his 25-year association with the Brad Mehldau Trio, as well as consequential engagements with Pat Metheny, Paul Motian, Charles Lloyd, Joshua Redman, and Mark Turner); and saxophonist Walter Smith III, a modern master who is equally at home in a variety of musical settings – from performing with the Roy Haynes Quartet to co-leading an ensemble with Matthew Stevens and Joel Ross. Slocum writes, “There are shapes in Walter’s playing that I don’t hear anywhere else, and his dynamic range and depth of interaction with the rhythm section fill his music with mood, personality, and possibility.” Credit must also be given to the legendary recording and mixing engineer, James Farber, who, on an all-analog project such as this, is as much a part of the ensemble as the musicians. “Like great jazz musicians, James always brings his own identifiable sound to each project. He creates an inviting and inspiring sonic environment that allows the musical connection, as well as the balance within and between the instruments, to happen naturally in the recording studio,” states Slocum. 

Saturday, February 19, 2022

New Music: Summer Of Soul, Straight From The Decks 2, Curtis Mayfield, Andrew Cyrille / William Parker / Enrico Rava

Summer Of Soul – Or When The Revolution Could Not Be Televised

The long-overdue release of a set of famous soul performances – all done at the Harlem Cultural Festival in the summer of 1969 – and issued here on record for the first time ever! The festival has become something of a legend – and finally got exposure on the screen, thanks to a directorial effort by Questlove. But in the film, most of the music was shown in shorter snippets – and this album corrects that by presenting the full performances of some of the key tunes in the movie, plus other great material too! The music is a great mix of soul, jazz, gospel, and Latin – and titles include "Are You Ready" and "Backlash Blues" by Nina Simone, "Together" by Ray Barretto, "Sing A Simple Song" and "Everyday People" by Sly & The Family Stone, "My Girl" by David Ruffin, "Hold On I'm Coming" by Herbie Mann, "Why I Sing The Blues" by BB King, "Uptown" by The Chambers Brothers, "Don't Cha Hear Me Callin To Ya" and "Aquarius/Let The Sunshine In" by The 5th Dimension, "Oh Happy Day" by Edwin Hawkins, "It's Been A Change" by The Staple Singers, "Heard It Through The Grapevine" by Gladys Knight & The Pips, and "Precious Lord Take My Hand" by Mavis Staples & Mahalia Jackson. ~ Dusty Groove

Straight From The Decks 2 - Various Artists

Any DJ set will tell you, unconsciously or not, it's about the author. The records selected and the way they're presented, they should make the audience really feel the DJ’s state of mind and learn about him or her in that moment. The appetite for digging, the quest for the a new or forgotten rarity is really what makes a DJing so special to me. Time stretching is a thing that in my opinion too many DJ’s have made a pact with. This digital steamroller runs over rhythm, fixing the tempo while leaving behind an agonising drummer whose only crime was getting slightly carried away and moving the BPM forward a little. Subsequently removing all the charm and life out of a track. My conception of music and DJ sets is the exact opposite. Since the first volume of 'Straight From The Decks', my DJ sets have been redesigned, refreshed and improved. I still don't have any preexisting plans, I let them evolve naturally, following my new desires.In this second 'Straight From The Decks' selection, you’ll find 7” vinyl records available to everyone, sitting proudly next to some rarities found online acquired through nerve-raking auction battles. There are also two exclusive remixes, along with titles that until now were only available digitally. Sixteen titles which have become the heart of my sets throughout this past year. ~ Pura Vida Guts

Curtis Mayfield - Very Best Of Curtis Mayfield (blue vinyl pressing)

Groundbreaking work from the legendary Curtis Mayfield – a set that brings together some of the best tracks from his initial run as a solo artist on his own Curtom Records – work that's forever set the standard for righteous, message-oriented funky soul! Every cut here is a gem, and the selection of tracks is great – certainly some of the classics, but also some that aren't as well known, but equally groovy – stretched out here in a double-length set list that includes "Move On Up", "The Makings Of You", "Pusherman", "Future Shock", "Kung Fu", "Can't Say Nothin", "So In Love", "If There's A Hell Below We're All Going To Go", "Get Down", "Freddie's Dead", "Superfly", "We Got To Have Peace", "Do Do Wap Is Strong In Here", "Do Be Down", "Between You Baby & Me", and "Only You Babe". ~ Dusty Groove

Andrew Cyrille / William Parker / Enrico Rava - 2 Blues For Cecil

Three legendary improvisers – coming together in a set of music that reminds us that with work like this, they're maybe even more essential than ever! All three players have risen to new heights in recent years – giving us music under their own names that really re-affirm their place in the jazz cosmos – but here, working together on longer improvisations, they seem to knock it out of the park even more – especially Rava, whose trumpet really seems set on fire in the company of William Parker's bass and Andrew Cyrille's drums! The title of the record is a reference to two of the album's long tracks dedicated to Cecil Taylor – but in a way, the whole thing serves as such – as the trio really work forward to negotiate new space in the improvising territory opened up by Taylor many years back – on titles that include "Overboard", "Enrava Melody", "Blues For Cecil No 1", "Improvisation No 1", "Ballerina", "Machu Picchu", and "Top Bottom & What's In The Middle". ~ Dusty Groove

Sabertooth Swing to release ambitious “Delta Bound”, a meditation on the violent history and complex culture out of which jazz first emerged

“How does music carry memory? How does New Orleans music carry memory differently? Is there meaning in historical violence? What is the meaning of Louisiana’s historical violence?”

These are the questions being asked on New Orleans-based Sabertooth Swing Band’s upcoming Delta Bound (March 18, 2022, Slammin’ Media), an ambitious album that brings together the work of poets, activists, and historical figures to become a meditation on the violent history and complex culture out of which jazz first emerged. Produced by Sabertooth’s Romain Beauxis and Chris Butcher and writer Holly Devon, featured guests include Sister Helen Prejean, Bruce ‘Sunpie’ Barnes, Jeffery Broussard, Cedric Watson, Paul Chéene, The Daiquiri Queens, Zachary Richard, Kid Chocolate, Daiquiri René Jones, and Big Queen Mary Kay of the Original Wild Tchoupitoulas, who contribute thoughtful spoken word essays, readings of works by Sidney Bechet and Frank Stanford and excerpts from Spanish soldier Luis Hernandez de Biedma’s first-person account of the 16th Century De Soto expedition, and who perform songs whose lyrics address the history of violence in Louisiana- and by extension, all of American society. 

“In New Orleans, memories linger in the humid air. But not all memories hanging in the air are benign.”

History is felt here; it’s close to everything you look at. The histories recorded in the archives of institutions and written by figures of authority always have a shadow, and so often it’s a shadow of violence. Delta Bound’s look into the cultural wealth of New Orleans is a one of a kind collection that doesn’t pull any punches. It invites the shadow of violence in and insists that the cultural wealth would not exist without it. As writer and liner note contributor Holly Devon asserts, “What’s so important about this album is that it’s showing the continuity of the story of New Orleans. There are all these different time periods that are filtering through, but the place is the constant that binds it all together. It’s the making of the reality that we’re all living through in New Orleans right now. And there’s been no break. Delta Bound asks, ‘Can we all face this violent history and can we all face the truth of it?’ With the power of art, you get a chance to actually touch the depths of this music and you can’t do that if you’re not willing to face that reality.”

After a brief spoken introduction from Devon that sets the premise of the trip we’re about to embark on, we’re invited into history by Dan Ruch growling out a brooding version of Alex Hill’s “Delta Bound”. The album’s focus track, Sabertooth’s version starts out with a trumpet shout into a chromatically descending line that sets the mood for Ruch’s sardonic, gravelly delivery of the desire to get back to the Delta “where there’s no shelter, no helter skelter”. Background horns quoting Wayne Shorter’s “Fee-Fi-Fo-Fum” illustrate the continuity of Black American music and make one take pause and observe that this already isn’t a typical ‘New Orleans Classics’ kind of album. After a rockin’ trombone solo from Sabertooth’s multi-talented trombonist/engineer/co-producer Chris Butcher, special guest Bruce ‘Sunpie’ Barnes lays down a mostly dark, minor key accordion solo before Ruch boldy reasserts the last verse, “I’m on my way now, most any day now, I’m delta bound” and by the end of the last horn licks, we’re there. 

And as soon as we get there, the history sets upon us.

As the first source of documentary evidence of the Lower Mississippi Valley, the 16th Century de Soto expedition offers a window into the world of indigenous Louisiana, albeit through severely prejudiced colonial lenses, and is therefore a kind of historical ground zero for Louisiana as we know it. Hernando de Soto was a Spanish explorer who, in the 1540s, made the first contacts with the indigenous peoples of the Southeastern region of America — encounters that always wound up with the Europeans visiting unspeakable brutality and violence on the people they found already living there. Set to a bouncing shuffle, Armando Leduc-Cruz’s reading of Luis Hernandez de Biedma’s original account of de Soto’s meeting with Chief Tuscaloosa and the resulting massacre of the inhabitants of Mobila on “De Soto Pt 1” sets up the arc of the narrative of the shadow of violence. It’s a brutal accounting of the atrocities, putting us face-to-face with the violent history of this land. 

Romain Beauxis of Sabertooth Swing Band, the originator of the concept of Delta Bound, wanted to make sure to include the de Soto history. “I’ve been in the New Orleans region for over 10 years, and I love it.” Beauxis explains. “But I want to face all the dark elements of it. “De Soto Pt 1” is the opening of the whole arc of violence that that has always been a background, a backdrop, for a lot of histories. Sister Helen Prejean says, ‘We’re a very young country and violence has worked for us in the past.’ And it started with the genocide of Native Americans. De Soto is here to represent that part of the story.” 

At roughly the halfway mark of Delta Bound, Sister Helen Prejean herself ties de Soto directly to the present day by reading her 1997 letter to Pope John Paul II. After thanking the Pontiff for speaking out against the death penalty, Sister Helen goes on to call out former New Orleans District Attorney Harry Connick Sr. for stating that, in his view, the application of the death penalty is “all too rare”. She points out the stark reality of the discrepancy between punishments for the same crime: “In the decision to seek death as a punishment, the vast majority of people on death row, 85%, are chosen for death because they killed white people.” Prejean notes. “Whereas, when people of color are killed- fully 50% of all homicides- not only is the death penalty seldom sought but often there is not even vigorous prosecution of such cases.” 

One might conclude that when the District Attorney for the City of New Orleans doesn’t think we use the death penalty enough against our poor citizens- and 99% of the souls on death row are poor- maybe we’re not so far from de Soto trying to eradicate every indigenous person he encountered.

Different threads of New Orleans and Louisiana history are explored on Delta Bound through the inclusion of poems like “St Malo”, which Cedric Watson reads in the original French Creole to represent the Haitians who settled in southern Louisiana after the Haitian revolution. Another standout reading is Jeremy Thomas’s reading of “Free Day”, Sidney Bechet’s recollection about the music played by slaves in Congo Square on Sundays, that speaks from inside the memory of Africa itself.

Bringing the histories of the Haitian and African progenitors of Zydeco tradition into the mix is Clifton Chenier’s “I’m On the Wonder” (single, out Feb 18), sung here by Zydeco accordionist and fiddle player Jeffrey Broussard. Zydeco combines European, African, and Caribbean musical traditions with syncopated rhythms, and Sabertooth takes it even further afield for Delta Bound with the addition of pianist Ryan Hanseler, who contributes gutbucket stylings to the down and dirty blues accordion Broussard brings to the mix. If New Orleans music is a gumbo, “I’m On the Wonder” is a trusted family recipe. 

Although Delta Bound deals with difficult themes, it is not without rays of hope peeping through the cracks. Halfway through our journey, we are reminded by “Joie de Vivre” how Zachary Richards’s grandparents were able to channel happiness dancing in their kitchen on a Sunday afternoon. The flip slide of the shadow is the joy and warmth found in the South, and Sabertooth Swing reminds us that if one gives people a chance, change and understanding can happen. Sister Helen Prejean herself tells the Pope that despite all the difficult matters that she has witnessed “I am full of hope. I have found that when people can get real information about the death penalty, not just rhetoric from politicians or sound bites from media, overwhelmingly, they reject the death penalty and choose life.”

Delta Bound will be released March 18 in digital, CD, and vinyl formats on Slammin’ Media/Believe Digital.

Born and bred in New Orleans, Sabertooth Swing carries a rich musical tradition of swing jazz with old roots and exciting new ramifications. Tracing its origins within the local swing dance community, their music embraces a foot-taping energy supported by serious musicianship and varied influences. Sabertooth Swing excels at bringing a fun experience and enhancing it with musical overtones that enrich their sound with beautiful jazz idioms that can be either be a source of exciting dancing or serious listening. 

The group is composed of musicians of various origin and musical background, with influences stretching from French chansons, folk & bluegrass, new wave and reggae with, of course, much love and respect for New Orleans’ own musical heritage. This variety is well reflected in their 2019 album, Extinct Possibilities. The album is a collection of musical experiments such as a ska tunes a la New Orleans marching style, merging the poetic beauty of Georges Brassens’ chansons with Amy Winehouse ’s sultry jazz and even a cover of The Kinks with an interesting mix of latin and swing  rhythms, following an idea originally laid down in tunes such as St. Louis Blues.  

In essence, with their exciting music adding a jazz twist to existing material with a strong connection to dancing, Sabertooth Swing follows the footpath left by the originators of jazz such as Buddy Bolden who, in his most famous piece, was asking to “open up the windows and let the foul air out”, presumably coming from late nights of dancing in small hot New Orleans summer rooms.  

Now preparing to release their third album, Delta Bound, Sabertooth Swing is shaking up listeners  expectations. Exploring new avenues of storytelling, Delta Bound is a collection of both music and  spoken word recordings. Bringing together the work of poets, activists, and historical figures, the album  is a meditation on the violent history and complex culture out of which jazz first emerged. Delta Bound will be available March 2022. 

The Carr Center Presents “To Stevie With Love” Tribute Concert featuring Terri Lyne Carrington, Grégoire Maret, Michael Mayo, Frank McComb, Dwight Adams, and Others

Detroit’s The Carr Center at DSA will present the dynamic live concert titled To Stevie With Love on Saturday, February 26, 2022, at the Detroit School of Arts, Ford Theatre, 123 Selden Street, at 7:30 p.m. This jazz-inflected tribute to the music of Motown legend and 25-time Grammy Award winner Stevie Wonder is part of the Carr Center’s Black History Month programming and continues its dynamic schedule of events celebrating its 30th year. Patrons can purchase tickets to the live event or the live stream at the Center’s website, thecarrcenter.org. The live stream will take place on the CarrCenterLive! YouTube channel.

This tribute to the genius of Stevie Wonder imagines the music of the Maestro through the lens of the New York jazz scene, with musical direction by three-time Grammy-winning recording artist, drummer, composer, and educator Terri Lyne Carrington, who serves as the Center’s artistic director. The performance will also feature musical arrangements by pianist Kevin Harris. Special guests include Grammy-winning harmonica wizard Grégoire Maret, critically acclaimed vocalist Michael Mayo, silky soul vocalist and keyboard master, Frank McComb, the funky wizardry of guitarist Keyanna Hutchinson and Detroit’s own Dwight Adams, the trumpeter from Wonder’s touring band. The event is sponsored by Love, Tito’s, the philanthropic arm of the Texas-based vodka maker.

In addition, as part of its ongoing commitment to arts education, the Carr Center is also offering a free educational workshop to public school students leading up to the show. Pianist and educator, Kevin Harris, who created original arrangements and will perform on To Stevie With Love, will lead a master class on Thursday, February 24, 2022, at DSA, at 2:30 p.m. Space is limited; those interested can also register to participate through the Detroit School of Arts.

“We’re thrilled to be able to present this live event since it was rescheduled from March of 2020,” notes Oliver Ragsdale Jr., the President and CEO of the Carr Center. “This concert is part of our return to live events in Detroit.”

“Stevie is a wonder,” Ragsdale continues. “This is no more appropriate or exciting way to celebrate Black History Month than with such a historically significant artist.”

The Carr Center Artistic Director Terri Lyne Carrington concludes: “I’m thrilled to put together a tribute to one of America’s most celebrated artists, Stevie Wonder. He is an undeniable genius whose music is truly universal, while still personal and socially relevant. His artistry is woven through the fabric of our lives, leaving his fingerprint indelibly on our culture. He defies category and is a complete musician who has been influenced by all great Black American Music, so it makes total sense to offer his music through the lens of jazz, in honor of Black History Month, in honor of the Carr Center’s 30th anniversary, and in honor of Stevie’s contribution to our musical heritage.”

Born May 13, 1950, in Saginaw, Michigan, as Stevland Hardaway Morris, Stevie signed to Berry Gordy’s Tamla imprint at Motown at age 11. As “Little” Stevie Wonder, the musical prodigy scored his first Billboard Hot 100 hit at 13 years old with “Fingertips.” As an adult, he developed his skills as a songwriter, multi-instrumentalist, and record producer who pioneered the use of synthesizers and electronic instruments, venturing into a range of music genres and influencing generations of artists with his soulful vocals, melodies, and lyrical content. Maturing into a full artist by the early 1970s, he released his seminal albums Talking Book and Innervisions charted in the Top 5, and Fullfillingness’ First Finale and Songs In The Key Of Life both reached No. 1. In 1973, Wonder took home his first five Grammy Awards for Innervisions, which won Album Of The Year, along with additional Grammy Awards for “You Are The Sunshine Of My Life” (Best Pop Vocal Performance, Male) and “Superstition” (Best R&B Vocal Performance, Male and Best Rhythm & Blues Song). Wonder is one of only three artists in Grammy history to win Album Of The Year three times in his career. He is also one of the top Grammy winners of all time with twenty-five awards. In 1999, Wonder was honored as the MusiCares Person of the Year. Wonder is one of the world’s best-selling musicians, with sales of more than 100 million records worldwide. Wonder has been inducted into the Rhythm and Blues Music Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters Hall of Fame. He is also noted for his work as an activist for political causes, including his 1980 campaign to make Martin Luther King Jr.’s birthday a federal holiday in the U.S. In 2009, he was named a United Nations Messenger of Peace, and in 2014, he was honored with the Presidential Medal of Freedom.

Friday, February 18, 2022

MARY J. BLIGE HEADS TO THE 15TH ANNUAL JAZZ IN THE GARDENS MUSIC FESTIVAL

Superbowl 2022 enjoyed an electrifying performance by the incomparable Mary J. Blige who brought the hip-hop heat to a star studded, fast paced, powerful halftime show, joined by legends Snoop Dog and Doctor Dre.  Blige, who recently released her album "Good Morning Gorgeous" to critical acclaim, will reprise her high energy show at the 15th Annual Jazz in the Gardens (JITG) Music Festival, which takes place on March 12 and 13, 2022. The R&B megastar, who also stars in the riveting Starz series "Power Book II", is the only headline artist to perform three times in the festival's 15-year history. Affectionally known as "the Queen of Hip-Hop Soul", Blige was invited back after thousands of fans clamored for her return to the country's fastest growing jazz & R&B festival, presented by the City of Miami Gardens, the largest Black city in Florida.

Jazz in the Gardens full line up is Mary J. Blige, H.E.R, Rick Ross, The Isley Brothers, SWV, The Roots with special guest T-Pain, Stokely, Johnathan McReynolds, Mike Phillips and Mark Allen Felton, with local performers still to be announced. Syndicated radio host and comedian Rickey Smiley will return as the host for the 2022 JITG.

In 2020, in the wake of the global pandemic, Jazz in the Gardens was forced to cancel just two days before the gates were slated to open. Now, almost two years later, the 2022 festival represents an impressive comeback as the City of Miami Gardens' signature event and is anticipated to be an even better experience for the thousands of loyal and eager ticket buyers who hail from all over the world. Entrants will be required to show a valid COVID-19 vaccination card or a negative COVID-19 test. Social distancing protocols will be observed and face masks will be strongly encouraged.

""Not only are we excited for the return of Jazz in the Gardens, but we are also honored to host Mary J. Blige once again in the great City of Miami Gardens," said Mayor Rodney Harris. "Mary J is an outstanding artist who consistently delivers a soulful and entertaining performance for her audience.  We are happy to welcome her back to Miami Gardens, and to share the experience with all the Jazz in the Gardens fans."

"As a manager, my clients have played this festival several times over the past decade" said
Shawn Gee, President of Live Nation Urban, "so when presented with the opportunity to work alongside the city to produce the event this year, I was super excited.  Jazz in the Gardens is one of the most important live events in the culture of Jazz & R&B music, globally. Our goal is not only to produce a stellar event, but to let the world know about the hidden gem that City of Miami Gardens has with this event".

'We are honored to partner with Mayor Harris and the City of Miami Gardens on the 15th Anniversary of Jazz in the Gardens", said Brittany Flores, President of Live Nation Florida. "The event is staple here in South Florida and we are beyond excited to help continue the tradition and usher in the next chapter of this amazing event".

The 15th Annual Jazz in the Gardens also showcases an eclectic mix of goods and great buys in the Merchandise Village and delicious, exotic cuisine in the Food Village.

Music Releases: Allen Toussaint, Kenny Cox, DJ Cam, Ike White

Allen Toussaint - Toussaint (with bonus tracks)

A seminal album from Allen Toussaint – his first big move as a solo act, and the start of some great fame that would blossom even more strongly in the 70s! This indie effort has a rougher edge than Allen's later albums at Warner Brothers – a sly, wicked slow funk approach that's a real transformation of the older New Orleans groove for a hipper, more contemporary 70s audience. The instrumentation is relatively lean – with lots of nice organ and piano lines alongside slow-stepping and vamping rhythms – and the set was actually recorded in LA, but still has very strong roots in New Orleans! Titles include the classic "From A Whisper To A Scream", plus "Working In A Coal Mine", "Everything I Do Gonna Be Funky", "What Is Success", "Either", "Louie", and "Number Nine" – a few of which are hip piano instrumentals! Features two bonus tracks. ~ Dusty Groove

Kenny Cox - Clap Clap! The Joyful Noise

Amazing lost sounds from Detroit – a previously unissued album from pianist Kenny Cox – best known for his late 60s albums on Blue Note, but working here in a really righteous style, and using a fair bit of Fender Rhodes as well! The album's a lost gem from the Strata label – home to Lyman Woodard's Saturday Night Special album – and there's definitely a side to this record that's shared with that one – a bit more laidback, definitely, but equally soulful, and mixed with spiritual jazz elements that echo the style of Kenny's Tribe Records contemporaries on the Detroit scene. Other players include Charles Moore on flugelhorn, Buzz Jones on soprano sax and flute, Ron English on bass, and Skeets Curry on electric guitar – and in addition to Fender Rhodes, Cox also plays clavinet, mellotron, and Arp as well! The set's got a bit of vocals – from Fito Foster and Nengue Hernandez – but the main focus is instrumental, and the long tracks really have the group spinning out beautifully. Titles include "Clap Clap The Joyful Noise", "Samba De Romance", "Island Song", "Lost My Love", and "Beyond The Dream". ~ Dusty Groove

DJ Cam - Lost & Found 2

A collection of lost tracks from DJ Cam – the French producer who first caught our ears with his effortless laidback funky tracks in the 90s – and who's gone on to keep on making great music over the years, even though less of the world is paying attention! Case in point is the work on this set – cuts that might well be the standout numbers on records by other folks, but which here are numbers that Cam just dropped without much fanfare at all – finally collected here into a proper LP, with help from guests who include Inlove, Fillet Of Soul, and Alex Tassel. The set includes a great remake of "Summer Madness" – plus "Venice Beach", "Peace Yo", "Dieu Reconnaitra Les Siens (Moar rmx)", "Music To Drive By (Soufien 3000 rmx)", "Bossa Nova Madness", and "Kundalini For Lili".  ~ Dusty Groove

Ike White - Changin' Times (with bonus track)

Ike's got the distinction of being one of a number of 70s soul artists who were in prison while recording their debut efforts – and we're not ever sure if he made it out of the pen after this album came out. Whatever the case, the album's a surprisingly nice album of mellow soul tracks – endorsed by Stevie Wonder on the back, and clearly coming out of a trajectory that follows the best of Stevie's early 70s albums on Tamla. The album includes a killer long slow funky instrumental called "Antoinette" – with spacey keyboards, nice drum fills, and a bit of fuzzy guitar breakdowns. The cut's a monster – more than enough reason to buy the record – but the other tracks are nice too, a bit out there and spacious, and kind of in the same high concept soul territory as work by Eugene McDaniels. Titles include "I Remember George", "Love & Affection", "Changin Times", and "Comin Home". CD features the bonus 7" single mix of "Changin Times". ~ Dusty Groove

GRAMMY AWARD-WINNING GUITARIST NORMAN BROWN RELEASES "LET’S GET AWAY"

The joy that emanates from guitarist Norman Brown while he is playing is palpable. The guitar is simply an extension of him. The multi-platinum selling and chart-topping musician is an artist who is truly in service of the music with the goal to be a force for positivity. “I wish to be of service to my fellowmen as I journey through life,” he explains. “I look upon my work as an opportunity to be overcome with joy and to make the most of it. I want to inspire others to search inside themselves for the silver-lining. We all have an opportunity to grow in gratitude for our lives and the blessings we have.” A dedicated meditation and Tai Chi practitioner, Brown confides that there are definite parallels between his practice of the aforementioned Ancient Art and his music. Brown reveals that it comes down to one thing - “balance.” With all of the accolades that Norman Brown has amassed the past three decades, including Grammy and Soul Train Music Awards, he has stayed the course for one reason. “Knowing that I’ve been commissioned by the Most High to channel a message of inspiration and motivation, brings me happiness,” he states. The Atlanta based musician’s love affair with the guitar began at age eight. Watching his older brother play, Norman was drawn to the energy radiating from what he now calls his “Spirit Catcher,” the strings on the guitar. Waiting for his brother Roy Brown Jr., “Popsicle” to leave, Norman couldn’t wait to get his hands on his six string carefully stored in the closet. Luckily for us Brown’s love affair with the guitar is still going strong. His technical wizardry, genre-bending facility, soulful finesse and charisma, have made him one of the most sought after internationally renowned musicians in Contemporary Jazz. Just ask his devoted and loyal fan base affectionately dubbed ‘Normantics.’ A musician’s musician, Brown has collaborated with everyone from George Benson, Brian McKnight, Kirk Whalum and Miki Howard, to Jeff Lorber, Gerald Albright, Rick Braun, Peabo Bryson, and Chanté Moore, to name a few. 

Shanachie Entertainment VP of Jazz A&R, Danny Weiss, states, “At the risk of being blasphemous, Norman is the true successor to Wes Montgomery and George Benson. Like them, he's a jazz musician of the highest order, but you hardly notice because you're having so much fun listening to him.” At the core of Brown’s life and work are the 11 laws of God, the principles of universal law and wisdom from the Ancient Egyptian Spiritual Studies, The Ausar Auset Initiation System, "The Paut Neteru Of Anu," The Tree of Life, which focuses on peace, harmonious unification, wisdom, spirit power, order and truth, balance, justice, free will, creativity, thoughts and morality, manifestation and devotion for divine earthly living. On March 25, 2022, Shanachie Entertainment will release Norman Brown’s 13th recording as a leader and fourth for the label, Let’s Get Away. Brown’s own take on the perfect getaway involves, “ A joyful and peaceful mental state, surrounded by companionship in an atmosphere of inspiration and beauty that is illustrated by the colors of nature.” Let’s Get Away conjures the serenity, joy and beauty that Brown wishes for us all. 

The riveting ten-track set showcases the genius and flair that has landed Norman Brown at the top of the charts time and time again. Featuring originals composed by Norman Brown and various album personnel, Brown’s highly anticipated new recording fuses the best elements of Jazz, R&B, Pop, Blues and beyond. The lone cover is a well-known Lalo Schifrin composition that Brown puts his Midas touch on. Joining Brown on the all-star outing is fellow guitarist and label-mate Paul Brown, multi-instrumentalists Wirlie Morris, Shane Theriot and Jeff Carruthers, keyboardists Lew Laing and David Torkanowsky, saxophonist Greg Vail, trumpeter Ron King, drummer Gorden Campbell, bassist Jeff Wolfe, and percussionist Lenny Castro. “It was an honor and pleasure to be joined by all of these divine beings who nourished the music and brought the perfect seasoning to this experience,” shares Norman. Let’s Get Away opens with the exquisite “Back At Ya,” the album’s first single, co-written with Laing, Torkanowsky and Paul Brown, who plays percussion on the track. Norman’s crisp and buttery smooth riffs delight with every note as he trades choruses with saxophonist Greg Vail. The alluring title track, “Let’s Get Away,” is a collaboration with Wirlie Morris (Charlie Wilson, Confunkshun, Keith Sweat). The duo create an emotive, funky R&B swinger that transports us to another dimension. The euphoric “Easy Livin,’” is the perfect mood-enhancing anthem, bound to put a smile on your face. Brown confides that the secret to easy livin’ is “being able to access your ability to access and remain in a living state of a Peaceful Joy in the face of all obstacles, setbacks, problems and challenges” The percussive uptempo ditty calls to mind the timeless Hugh Masekela song “Grazin’ in the Grass.” Norman kicks it up a notch with the surprising key change and tasty blues-drenched solo half way through. 

Norman Brown also takes the opportunity on Let’s Get Away to pay homage to two significant men who have shaped him personally and the other musically; his Father, Roy Brown Sr. and Wes Montgomery, who transformed the guitar harmonically, melodically and technically. Brown puts his Midas touch on Lalo Schifrin’s “Down Here On The Ground,” which was the title track of Montgomery’s 1968 Creed Taylor produced session. The album hit #1 on the Billboard Jazz chart and #4 on the R&B chart. The original version was part of Schifrin’s Academy nominated score to the film Cool Hand starring Paul Newman and George Kennedy, who won an Oscar. “My inspiration for recording this song was to bring joy to my Father, fulfilling his request to learn Wes Montgomery’s version note for note, phrase for phrase and with the feeling of his rhythmic touch. This was a great moment to play tribute to both my Father and Wes Montgomery,” shares Norman. “Wes Side Story,” co-written with fellow guitarists Shane Theriot (who collaborates with Norman for the first time on recording) and Paul Brown, is another shining tribute to “The Golden Thumb as Wes was affectionately crowned. Norman adds, “Wes exposed me to guitar playing so creative, that it showed me a total range of musical expression that touches every emotion from warmth, to edgy, to excitement, all the way to blazing.” “L.A. Chill” is the coalescence of laid back groove, deep soul and mean guitar licks. The killer arrangement of Norman and Shane Theriot’s “Talk It Out,” is as catchy as it gets as Norman raises the roof and horn section of Ron King and Greg Vail to elevate the vibe. The percolating and effervescent “Late Night Drive,” conjures warm moonlight summer nights with the top down and your favorite soundtrack pumping through the speakers. Norman’s trademark assured touch, sublime and agile soloing make it hard to sit still as he blesses this undeniable groove. He explains, “I don’t think many people understand that the gear one uses including his instrument is only a partial makeup of the tone or overall sound. The voice and tone of an artist is generated through one's fingers, phrasing, rhythm and overall conceptual approach in playing his instrument.” The R&B gem “I Won’t Hurt You” is a collaboration between Brown, Wirlie Morris and vocalist James Champion while “Sunset On Chandler,” transports us to our final destination where Brown pulls out all the stops managing to balance grace, braun, grit and sophistication. The latter, another collaboration with Shane Theriot and Paul Brown, also features trumpeter Ron King.  

Born in Shreveport, LA and raised in Kansas City, KS Norman Brown has enjoyed a career longevity that is rare in this business . Never one to rest on his laurels, he states, “I always remind myself that success lies within my own brain. To expect difficulties and to force my way through them. To avoid procrastination in all its forms and to never, under any circumstances put off until tomorrow any duties that should be performed today.” It is these virtues that keep Brown on his astonishing evolution. A graduate of the Musician’s Institute in North Hollywood, Norman Brown would go on to teach at the school until he landed his first deal, as the flagship artist on Motown’s Mojazz label. In 1992, Brown recorded the albums Just Between Us, the Gold selling and Soul Train award-winning After The Storm and Better Days Ahead. Having recorded a string of successful albums including 1999’s Celebration (in which he teamed up with Paul Brown), 2002’s Just Chillin’ (featuring vocalists Michael McDonald, Miki Howard and Chanté Moore) scored a Grammy. The same year, Brown joined forces with saxophonist Kirk Whalum and trumpeter Rick Braun forming the group BWB, recording their debut album Groovin’. In 2013 they released Human Nature, a tribute album to Michael Jackson, which was followed by their third collaboration BWB in 2016. Brown continued a trail of critically heralded albums including West Coast Coolin’ (2004), Stay With Me (2007), Sending My Love (2010) and Grammy nominated 24/7 with saxophonist Gerald Albright. 2017 saw the release of Norman Brown’s anticipated and well-received Shanachie debut, Let It Go. Brown’s recording The Highest Act Of Love followed in 2019 and Heart To Heart in 2020 (both on Shanachie). 

With the release of Let’s Get Away and in the wake of so much divisiveness, Norman Brown hopes that his music can be a reminder that, “We are one race of beings interconnected and interrelated, therefore, we are interdependent on one another to achieve Optimality! A life united in harmony in the state of a joyful peace. As the gears in a fine Swiss watch operates achieving the state of keeping perfect time.”


New album from Flora Purim - If You Will

Big news as one of the all-time greats of Brazilian jazz fusion, Flora Purim, returns with her first studio album in over 15 years, ‘If You Will’ released on 29th April. A family affair recorded primarily in Curitiba and São Paulo, the recordings bring together many of Flora’s closest circle of musicians including Airto Moreira, guitarist José Neto and her daughter Diana Purim on vocals.

The album explores new compositions alongside fresh versions of Flora’s favourite personal songs and positive lyrics from across her varied career. Title track ‘If You Will’ reprises her inspired work with George Duke, the resilient ‘This Is Me’ updates an Airto jam band tune ‘I Don’t Wanna Be Myself Again’ and ‘500 Miles High’ recalls the heyday of the late Chick Corea’s Return To Forever band.

The album is the latest chapter in Flora’s long, illustrious and varied career. As well as her celebrated partnership with Airto and early days with Quarteto Novo, Flora has worked with Stan Getz, Gil Evans, Miriam Makeba, George Duke, Chick Corea (as an original member of Return To Forever), Dizzy Gillespie’s United Nation Orchestra, Uruguayan band Opa and many more. Her solo albums on Milestone remain all-time jazz fusion classics.

‘If You Will’ is available to pre-order as a limited edition clear LP, standard black LP, CD and digital download. The album is co-produced by Flora Purim and Roberta Cutolo with package photos by Mel Gabardo in Brazil and cover illustration by Gabriela Barbalho.


 


 


 


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Pianist-Composer Armen Donelian Debuts New Trio, with Jay Anderson & Dennis Mackrel, on "Fresh Start"

Pianist and composer Armen Donelian reemerges from the COVID-inspired shutdowns with a newly refined conception on both instrument and pen on Fresh Start, to be released April 1 on Sunnyside Records. The album is the recorded premiere of Donelian’s new trio featuring bassist Jay Anderson and drummer Dennis Mackrel. 

Sidelined like all musicians by the worldwide pandemic, Donelian was further removed from performing when a shoulder injury left him temporarily unable to play the piano. Ever resourceful, the 71-year-old simply wrote new music instead, giving himself something to workshop when he regained his playing ability. 

In neither capacity, though, was Donelian content to rest on his laurels. “The pandemic … was an opportunity for me to reexamine my approach to the piano and composing,” he says. It was in that spirit that he created the trio with Anderson, a longtime friend, and Mackrel, a new acquaintance (but a frequent bandstand partner of Anderson’s). He broadened his new approach to incorporate his collaborators. 

“I was looking to deepen how we listen and interact with each other in a responsive way,” Donelian explains, “taking every particle of time as an opportunity to connect with and support each other, contributing in some way to a more beautiful sound.”

A more beautiful sound is certainly what they achieved. From the sweet sensitivity of Donelian’s album-opening “Noviembre” to the percussive “Madagascar” (featuring a dazzling Mackrel solo) to the giddy, rattling 7/4 of “Janet Left the Planet,” the ensemble provides ample evidence of their mastery and imagination, both as individuals and collectively. 

Yet Donelian’s musical reboot is hardly a rejection of his place in the jazz tradition. Indeed, Fresh Start also offers a unique kind of contextualization for the leader. His five original compositions are joined by two pieces from the Great American Songbook—Harry Warren’s “Never Let Me Go” and Herb Magidson & Allie Wrubel’s “I’m Stepping Out with a Memory Tonight” (which marks Donelian’s vocal debut on record)—Donelian also explores works connected to his own past and present. “Gale” and “Day Break” are compositions by two of his mentors, pianist Richie Beirach and saxophonist Makanda Ken McIntyre, respectively. In addition, composer Vatan Rajan Singh (“Ferry Maiden”) and Sophia Bondi (“In the Western Night”) are both former students of Donelian’s. The album thus establishes him as one important link in a long, rich chain.

Armen Donelian was born December 1, 1950 to a family of Armenian immigrants in New York City. He began studying piano at the age of seven, enrolling at the Westchester Conservatory of Music. At 12, he discovered jazz by way of a trad band led by noted studio guitarist Arthur Ryerson; Armen’s older brother played clarinet in the band, and he himself eventually became its pianist. 

He studied music theory and composition at Columbia University—then entered a different sort of finishing school via the tutelage of Richie Beirach. The celebrated pianist was the first in a long line of musical mentors: Donelian soon found himself sharing bandstands with Mongo Santamaria, Sonny Rollins, Chet Baker, and Billy Harper. Throughout it all (though especially while in Harper’s band), he worked to develop his own sound, beginning a solo career in earnest with his 1981 debut Stargazer. 

A dozen more albums followed over the next 30-odd years, including the acclaimed releases Secrets (his 1988 album for Sunnyside), All or Nothing at All (2006), Leapfrog (2011) and Sayat-Nova: Songs of My Ancestors (2014). 

Proud as he is of his accomplishments, Donelian nonetheless takes a thoughtful and critical approach to his music, leading to the kind of reassessment that characterizes Fresh Start. “Instead of focusing on what I was playing, I was focusing more on how I was playing, on touch, expression, and storytelling, allowing the sound to happen in its own way,” he says. “That was the main focus of this album.” 

Donelian and his new trio will be performing this spring at the following venues: 3/18 Hudson (NY) Hall; 3/19 Maureen’s Jazz Cellar, Nyack, NY; 4/24 Claverack (NY) Public Library; 5/22 Ossining (NY) Public Library. In addition, Donelian will be based at the Bucharest University of Music (Romania) 5/2-19 in a Fulbright Specialist residency.

Thursday, February 17, 2022

DJAZZ .ORGONITE - DOUBLE 'O JAZZ

“DJazz” is a combination between two words: “DJ” and “Jazz” (overlapping “J”), the two core elements that generate “DJazz”. Orgonite balances ambient energy by turning the negative energy into positive (orgone) energy. In the 1930’s and 1940’s, Dr. Wilhelm Reich was able to detect and measure the existence of etheric energy (life energy, chi, etc.), which he called “orgone“. “Orgonite” is a specific term that refers to the MIX of metal (conductor) & resin (organic substance) used in “orgone generators” (Oracs). DJazz.Orgonite is a “mix” between “Electronic & Acoustic”, between “Hardware & Humans”, between “DJs & Musicians”.

The project DJazz.Orgonite is formed by Roelant Hollander – saxophones on “Double ‘O Jazz”, “Duck Dis Drunk Dromedary” & “Yo Sco” . Beat, bass, keys programming & sampling on all tracks. Miroslav Petkov – trumpet on all tracks. Jivko (DJ Jijo) Marinov – scratches on “Double ‘O Jazz”, “Nu-Frisco-Funk” & “Yo Sco”. Todor (DJ Emotion) Zhelyazkov – scratches on “Yo Sco”. Guest artists appearing on this EP. Bertolf Lentink – guitar on “Double ‘O Jazz”. Vito Giocovelli – percussion on “Duck Dis Drunk Dromedary”. Etienne Lebel – trombone on “Nu-Frisco-Funk”. For this album the group chose to use a different Concert Pitch (A4=432Hz).

All tracks were composed, arranged, edited, mixed and produced by Roelant Hollander, except “Double O Jazz” was co-written by Bertolf Lentink. All tracks recorded by Ivan Boyadzhiev and Roelant Hollander at Studio 21. Converted to 432 by Frederic Van den Poel with the EVO432. Audiophile Analog Mastering: Angelos Timewarp Stoumpos at Timewarp Mastering 

Track List:

1. DJazz .OrgOnite - Double 'O Jazz (Original Mix)

2. DJazz .OrgOnite - Yo Sco (Original Mix)

3. DJazz .OrgOnite - Duck Dis Drunk Dromedary (Original Mix)

4. DJazz .OrgOnite - Nu-Frisco-Funk (Original Mix)

5. DJazz .OrgOnite - Hip cHops (Free Download) (Original Mix)

New Music: Funky Destination, Jazznut, Sault, Osibisa

Funky Destination - I Do Voodoo

Funky Destination returns back with his brand new and hot seventh studio solo LP album “I Do Voodoo”. Croatian based producer Vladimir Sivc a.k.a Funky Destination is back in funk business! “I Do Voodoo” features seventeen hot tracks, on all of them he is got the glorious funk groove, fat baselines, vintage drums & breaks while all of them glued in his special way with soulful melodies, blues touch, and funky brass sections and tones. In this album you will discover the organic sound of the era of 70’s with a modern twist. While the funk is domination over the album, blues, soul, brazil sounds, break and dub is not missing at all. This album is an excellent collection of warm produced tracks that will stay long in your speakers to play out loud! Audiophile Analog Mastering: Angelos Timewarp Stoumpos at Timewarp Mastering 

Jazznut - Under The Sun

Russian based artist Dmitry Khlynin was born in a family of church workers, from young age he was sure that music was "his way". He tried to play guitar with his father and later he started producing his own music. At that time the "club" sound with a straight 4/4 kick was all over the media so he was immersed by the hype, he spent many years trying to find his music path, but no avail. Finally he decided not to lie to himself anymore by accepting the way he really felt the world and music.“Under the Sun” album started in 2019 as latin jazz music became the best genre in the world for him, this music was filled with positive and sincerity that really helped him. He tried to imitate this sound and came up with "Walking The Streets" not knowing where it will lead him. Then he started adding part by part elements, and over the time he realised that as a child he was really impressed by the music of the era of Big Beat, Breaks, Rock, Funk, Jazz, Latin and Soul. Under this vibe, he brought to life this cinematic concept that you can hear now over the entire album. You will discover his passion of creating music that varies from Jazz to Funk blended with plenty of Rock inspiration, Trip Hop influences, Big Beats and Breaks combined with modern electronic elements, all well cooked with soul and indie dance style.

Sault - 9

Fantastic music from Sault – a record that explodes way past some of their previous releases, and really shows the group evolving in their sound – even if they are still keeping their cover art in the same very understated territory! There's a sense of urgency as the album begins – one that wasn't there a few records before, and which may well illustrate the increasing importance of Sault's mission at a cultural and political level – as they work with a blend of funky soul elements and much more cosmic-tinged execution – sometimes very slow and brooding, other times bursting with life to deliver their message! Titles include "Bitter Street", "You From London", "Light's In Your Hand", "Alcohol", "Haha", "London Gangs", "Trap Life", and "Fear". ~ Dusty Groove

Osibisa – Yo Love Is Betta (Louie Vega Remix) 

In their 50th anniversary year, pioneering godfathers of Afro-beat, Osibisa reached out to global icon, Louie Vega, to bring a fresh collaboration to their new release, ‘Yo Luv Is Betta’, taken from their 2021 studio album ‘New Dawn’. Vega instantly pulled in right-hand-man, Josh Milan (keyboardist and co-remixer) and together they brought justice to this mighty track, with The Celebration Mix & Expansions NYC Dub release. Written by Osibisa front man, Gregg Kofi Brown, the track was inspired by the passing of Afrobeat legendary drummer, Tony Allen, and features vocals from Ghanaian vocalist, Ssue. Steeped in voluptuously rich vocals, ‘Yo Luv Is Betta’ serves-up a delicious melodic cocktail of afro-beats, flecked with jazz undertones and big-band instrumentals. The remix combines a joy-ride of Afrobeat and Afro / Brazilian house beats & bass groove, sparkled with scintillating sitars, re-arranged horn stabs and the metal tines of a Fender Rhodes. The Celebration mix and the Expansions NYC Dub is a classic Vega/Milan hot biscuit for dancers worldwide.

Marcus Rezak & Kris Myers (Umphrey's McGee) Release NYC Fusion-Inspired Single "Kyoto Cocktail"

On Friday, February 18th, Marcus Rezak will release "Kyoto Cocktail," a collaborative track with Kris Myers of Umphrey's McGee via Color Red produced by Eddie Roberts of The New Mastersounds. The track also features Chris Duffy of The Magic Beans on bass and Tyler Adams of The Jauntee on keyboards.

“Kyoto Cocktail” encompasses the sonic grit and edginess of a live performance in a New York City dive bar. During a car ride to a gig the night before the session at Color Red Studios, the two discussed their mutual love for fusion music coming out of NYC in the 80s and 90s. This particular era possessed a paradoxical combination of rawness and commercial catchiness that Rezak and Myers sought to capture through both production and composition in the studio. Rezak’s virtuosic, yet tastefully expressive guitar work and Myers’ signature style of syncopated and sophisticated drumming are accompanied by Tyler Adams’ (The Jauntee) soaring organ pads and Chris Duffy’s (Magic Beans) subsonic bass. The track is an exploration of rich melodies and rhythmic latitude that encompasses Rezak and Myers’ pedigree through both cutting their teeth at Berklee College of Music and a combined 50 years of touring between the two of them. Like its namesake derived from the suave and worldly mixed drink, “Kyoto Cocktail” is a concoction of a fruitful 15-year collaborative history between two of the most highly regarded and multifaceted musicians on the modern touring circuit.

The track release comes ahead of a co-headlining show between Rezak's original 'Truth in Sound' band ft. Myers on drums & Myers' original fusion project Kick the Cat at Cervantes' Other Side in Denver, CO on Friday, March 4th, 2022. 

Rezak is currently embarking on a fully loaded winter tour with his high-octane Grateful Dead tribute group, Shred is Dead and his original 'Truth in Sound' band to promote his latest release 'Truth in Sound' ft. Russ Lawton, Ray Paczkowski, and the late Tony Markellis of Trey Anastasio Band. He recently appeared as an artist-at-large at Gem & Jam Festival in Tucson, AZ sitting in with TAUK, Melvin Seals & JCB, and more and will appear at SXSW, Virgin Island Jam Fest (Saint John, VI), and Skull & Roses Festival (Ventura, CA) to wrap the tour up.

Marcus Rezak carves out a distinguished style in the world of guitar with several cutting-edge groups such as Shred is Dead, Digital Tape Machine, Stratosphere All-Stars, Katharsis, Supernatural Beings in addition to frequent engagements as an artist-at-large. Known as a master of jazz improvisation with a knack for art of the sit-in, Rezak is a frequent call among bands and musicians carving out his unique niche in the performance world. Having a commanding stage presence, Rezak takes the euphoric freedom of live music and directs its path into a unique approach, as if every jam is a live recording session. Rezak’s 2018 debut as a bandleader saw him collaborating alongside Kris Myers and Joel Cummins of Umphrey’s McGee, Arthur Barrow of Frank Zappa’s band, and legendary saxophonist Bill Evans. Since then, he has toured across the US with eclectic lineups featuring the likes of Ike Willis, Kris Myers, Jay Lane, Scott Page, and more; led his band on two tours though the US Virgin Islands; spearheaded official Umphrey’s McGee afterparties; and continued to hone his chops in his home studio and licensing endeavors. ‘Truth in Sound’ is Rezak’s most recent endeavor featuring members of Trey Anastasio Band, esteemed percussionist Kalyan Pathak, and more. The ability to keep exceptionally comprehensive mental notes on what works, what doesn’t, and how to improve have garnered Rezak much-deserved respect in the music world and have leveraged his ability to take his craft to integral heights. 

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