Friday, May 31, 2013


Elvis Costello and The Roots have announced today that a collaborative album entitled Wise Up Ghost will be exclusively released by Blue Note Records on Tuesday, September 17, 2013.

The existence of the record was first revealed by ?uestlove as an aside during an interview with Billboard in January. A small number of test pressings were distributed as white labels on Record Store Day on April 20 but the full release will follow later in the year.

Most of the sessions took place in secret at Feliz Habitat Studios in the dead of night, while others were in plain sight at Costello’s Hookery Crookery Studios. Elvis described the record as “the shortest distance between here and there” and containing “both rhythm and what is read”. Ahmir says, “It's a moody, brooding affair, cathartic rhythms and dissonant lullabies. I went stark and dark on the music, Elvis went HAM on some ole Ezra Pound shit.”

The solitary star announcing vacancy burnt out as we arrived

They'd throw us back across the border if they knew that we survived

It promises to be one of the most unexpected and surprising releases of 2013.

In addition to the fabulous Roots crew and friends, the record features a guest vocal appearance on “Cinco Minutos Con Vos” from La Marisoul, lead singer of the Los Angeles group, La Santa Cecilia.

The album was produced by longtime Roots associate, Steven Mandel together with Elvis Costello, and Ahmir “?uestlove” Thompson.

~ Blue Note Records



Stephens, with trusted teammates Dennis Carroll on bass and Joel Spencer on drums, takes on a spectrum of material that touches on outstanding work by Carla Bley, Bill Evans, Sammy Cahn, and the acclaimed songwriting teams of Rodgers and Hart, and Van Heusen and Burke, as well as three Stephens originals that reveal his gift for lyricism and vivacious swing. The result is an album that celebrates the durable joys of the mainstream piano trio tradition while also asserting the in-the-moment creativity and intensity that can be brought to it. Relevancy is set for release on June 18 on Capri Records.


Wayne Wallace's new CD revamps traditional Cuban and Caribbean sounds as every tune reflects the inexorable flow of rhythmic currents between Caribbean and African-American communities, a diaspora communion responsible for unprecedented creative ferment.  Joining Wallace and his Latin Jazz Quintet are special guest percussion greats Pete Escovedo and Michael Spiro, violinists Mads Tolling and Jeremy Cohen and 17-year-old flute star Elene Pinderhughes. Wallace is a five-time Grammy Award nominee and is one of his generation's most eloquent trombonists and has been repeatedly named as a leading force on the horn in DownBeat polls. He's collaborated with a dazzling array of artists including Count Basie, Ray Charles, Joe Henderson, Carlos Santana, Lionel Hampton, Earth Wind & Fire, Sonny Rollins, Aretha Franklin, Tito Puente, Lena Horne, Stevie Wonder, John Lee Hooker, Earl "Fatha" Hines and cellist Jean Jeanrenaud, and is revered as an educator, player, composer, arranger, and producer with his label, Patois Records.


With Miles of Blu Tony Adamo has created a new genre: "HipSpokenWord." His powerful, relevant inventions float over groove concocted by master drummer and producer Mike Clark and supported by a host of stellar musicians.  Miles of Blu illuminates  the path to true hipness!. Tracks include JB; Miles of Blu; Funkin’ at the Chickn’ Shack; America R We Free?; BBQ; The Power of Funky Madness; Soul Vaccination; Don’t Change Horses; Ain’t That a Groove; Jack Kerouac, Jack!; Sun-Ra Rockets to Mars; What is Hip?; The Other Side of Time; and Tickn’ Clock.



Far Out has put together a refined collection of songs from an all-star ensemble of Brazilian legends such as Marcos Valle, Joyce and Azymuth. A perfect introduction to Brazilian music in all its facets and the sound of Far Out. Tracks include - The Ipanemas - Imperial; Joyce - Cidade Maravilhosa; Heidi Vogel - Modinha
Leila Pinheiro & Nelson Faria - Bala com Bala; Marcos Valle - Summer Samba So Nice (Samba de Verao) (Live in Rio de Janeiro); Azymuth - Linha do Horizonte; Ile Aye - Batmacumba; Grupo Batuque - Na Cadencia Do Samba; Rubens Bassini - Samba (Samba No Congo); Maria Moita - Maria Lucia; Clara Moreno - Pourquoi? (Nega Sem Sandalia); Myrzo Barroso - Consolacao; Banda Black Rio, Elza Soares & Cesar Carmargo Mariano - Isabela; Leila Pinheiro & Nelson Faria - Doce Presenca; Joyce - Berimbau; Clara Moreno - Vem Morena Vem; Trio Maraya - Canto de Ossanha; Banda Black Rio feat. Caetano Veloso - Aos Pes do Redentor; Leo Gandelman - Reza; and Victor Assis Brazil - Wave. ~ Far Out


A really great change for saxophonist Nathan Haines – and that's saying a heck of a lot, given how much we already liked him before! The set's a straight jazz outing – of the kind that really lets Haines' strengths on reeds shine forth beautifully – soaring out soulfully in ways that are quite different than his more groove-oriented recordings – yet still equally soulful! Nathan's tenor is wonderful – as deep in tone and rich in feeling as some of the greats of the 60s generation – yet informed with a slight spiritual sense of phrasing as well, even though the overall production and setting is downright classic. The group's a quartet – with Kevin Field on piano, Alain Koetsier on drums, and Thomas Botting on bass – and titles include the Haines' originals "Realisation", "Universal Man", "Ancestral Dance", "The Poet's Embrace", and "Consequence" – plus a version of Roy Brooks' "Eboness". ~ Dusty Groove


A contemporary set, but one that sparkles with all the best brilliance of the 70s scene in Brazil – and that includes such heady company as Marcos Valle, Azymuth, and Joao Donato! As with all those artists at the time, Lucas Arruda has a groove that's strongly based on Fender Rhodes – warm keys that are underscored with some great acoustic percussion that gives the whole thing an earthy core at the bottom, and a vibe that's quite different than any American fusion of the time! The music is completely sublime throughout – very jazzy in its inflections, but also with a more freewheeling approach – as you'd hear on classic keys from Jose Roberto Bertrami. The set's got a bit of vocals, but really focuses on the keyboards – and titles include "Physis", "Rio Afternoon", "Batuque", "Alma Nova", "Sambadi", "Carnival", and a sweet cover of "Who's That Lady". ~ Dusty Groove

Thursday, May 30, 2013



Peace, Love & Jazz is a new album from guitarist Maurice Johnson. With this release, Johnson ambitiously explores the diverse realm of artistic expression as composer, arranger and guitarist, ideally and uniquely evolving into his own signature sound. On Peace, Love & Jazz Maurice is joined by a host of musician peers of veteran status along with some extremely talented young newcomers as well. Immersed in a plethora of musical textures, Johnson’s guitar remains firmly intact as the centerpiece of each composition with distinct, bold and majestic appeal. Always the first to admit, a lot of his sound is hinged on jazz, but when asked what style he plays, there’s an obvious reluctance to supply a generic response defining only a single genre. “But if jazz is what you hear, that’s okay.” says Johnson. The album’s title, which Johnson embraces as his personal mantra is a mere reflection of his own self journeying through pivotal points of personal serenity, love of family and a strong common bond to deep seated jazz roots. ~


Special EFX and its award winning leader, guitar virtuoso Chieli Minucci have sold close to a million albums. Chieli Minucci & Special EFX virtually define the Smooth Jazz genre. Genesis brings together some of Special EFX's all time favorite collaborators such as Mino Cinelu and Omar Hakiem (of Sting and Miles Davis fame) and virtuoso violinist Karen Biggs (Yanni) to collaborate on 11 thrilling originals that combine the magic of the last 30 years with the freshness of today. The album kicks off with the funky Crazy 8s the first of many hit singles to come from this brilliant album. Other highlights include the mystical vocal Mirage sung by up and coming Shanghai vocalist Feiya Xu, the romantic Blue Lagoon featuring keyboardist Lao Tizer. ~


Following his two highly acclaimed recent releases Signing and Wish Upon A Star, vibraphonist extraordinaire Joe Locke goes for the three-peat with his most personable and accessible quartet recording to date, with gorgeous renditions of blues and ballads from Bill Withers to Bonnie Raitt. Recent releases garnered much critical acclaim, including a five-star review in Jazz Journal, a four-star review in JazzWise, and rave reviews from All About Jazz, All Music Guide, eMusic, and more. One of the most respected vibraphonists in jazz, as well as one of the most exciting live performers to watch! His stellar reputation as a must-see live act, combined with the promo campaign for this stellar disc, is sure to stimulate a lively touring schedule. ~


Last June, reggae legend Jimmy Cliff visited Los Angeles’ KCRW for a live acoustic performance of nine songs on the public radio station’s acclaimed program, “Morning Becomes Eclectic,” hosted by KCRW Music Director Jason Bentley. The recording of the live broadcast, titled The KCRW Session, will be released on June 25 by Universal Music Enterprises.

“This session is one of my fondest memories from the KCRW studios”.

Broadcast live on June 28, 2012, The KCRW Session features selected songs from Cliff’s acclaimed, GRAMMY®-winning (Best Reggae Album) 2012 album, REBIRTH, as well as classics from the Rock and Roll Hall of Famer’s catalog. The KCRW Session includes “Trapped,” Cliff’s cover of The Clash’s “Guns Of Brixton,” “World Upside Down,” “Wonderful World, Beautiful People,” “You Can Get It If You Really Want,” “Children’s Bread,” “Many Rivers To Cross,” “I Can See Clearly Now,” and “One More.” All of the session’s songs were performed by Jimmy Cliff on guitar and vocal.

“This session is one of my fondest memories from the KCRW studios,” says Bentley. “Jimmy Cliff sat right down with his guitar and gave 110% on every song, and then proved himself a gentleman in thoughtful conversation. We all felt graced by a living legend that day, and we witnessed a truly special performance that I'm proud to say lives on through this recording.”

Jimmy Cliff’s entire “Morning Becomes Eclectic” performance is available for video streaming on

REBIRTH paired Jimmy Cliff with the award-winning producer and punk legend Tim Armstrong, who produced the 13-track album. Armstrong also produced Cliff’s Sacred Fire EP, released late in 2011. Rolling Stone magazine hailed Cliff’s hotly anticipated return to form as his “best music in decades” and named REBIRTH one of 2012’s top albums. REBIRTH debuted at No. 1 on Billboard’s Reggae chart and held the top position for five weeks straight.

1. Trapped / 2. Guns Of Brixton / 3. World Upside Down / 4. Wonderful World, Beautiful People / 5. You Can Get It If You Really Want / 6. Children’s Bread / 7. Many Rivers To Cross / 8. I Can See Clearly Now / 9. One More



Amazing sounds from one of the greatest periods in Brazilian music – that heady late 60s/early 70s stretch when it seemed like everything was up for grabs – and new genres, new sounds, and new styles were being created all the time! This cooker of a collection focuses on the unique hybrid of funk and samba that took place at the time – a sound also known as Samba Soul, but served up here with a really well-selected batch of tracks that goes way past the obvious – to really reinscribe a whole new version of this musical generation, pulled together from rare wax of the 70s! The groove is bouncy and upbeat, but often has some cool unexpected twists and turns too – with titles that include "Mister Brown" by Bebeto, "Quem Vem La" by Marisa Rossi, "Turma Do Pole" by Arnaud Rodriguez, "16 Toneladas" by Moriel Vilela, "Sou Negro" by Toni Tornado, and "Tatarue" by Giovana. ~ Dusty Groove


A surprisingly spiritual collaboration between Onra and and Buddy Sativa – one that's filled with lots of rich acoustic sounds that recall the glory days of the 70s spiritual jazz scene and the post-Coltrane years on Impulse Records! Most of the music is handled just by the two musicians, working with overdubs – and laying down bits of flute, kalimba, electric piano, Arp, harp, vibes, bass, and plenty of percussion – a very heady brew that stretches out with a deep, organic vibe that's mighty nice! Despite it's contemporary origin, the set feels a lot like some lost indie pressing from the 70s – with tracks that include "Wandering Wondering", "Endangered Species", "Universe Is Love", "UFO Paradise", "Dark Karma", and "Honey Hash Rose". ~ Dusty Groove


A pretty wonderful little concept – Pat Metheny plays music composed by John Zorn – all at a level that resonates both with the wonderful modes we've been hearing from Zorn of late, and with the most adventurous modes of Metheny's early years! Pat's virtually solo on the set – save for some help from Antonio Sanchez on drums – and plays a range of different electric and acoustic guitars, plus sitar, piano, keyboards, bandoneon, percussion, and even a bit of flugelhorn too – instruments that create a rich tapestry of sounds and textures, often with these exotic musical moments that are a real change for Metheny! The album's a delightful surprise all the way through – and titles include "Albim", "Phanuel", "Hurmiz", and "Sariel". ~ Dusty Groove


Since he began to seriously pursue a career as a jazz artist back in the 1960s, Dave Liebman has been on a transformative journey towards becoming a true original in the genre. After assuming sideman slots with the likes of Miles Davis , Elvin Jones , and Chick Corea, to name but a few, he has certainly earned his stripes. Those who've followed him more closely understand that he has become a deep and soulful storyteller in jazz in a way few others have.

So what would you say to a trailblazer like Liebman when you discover he's taken a batch of beloved pop songs-sweet, memorable, hummable "chestnuts" in the popular lexicon-and completely deconstructed it?

Liebman has, over the years, proved to be a risk-taker, a challenger, someone who purposely defies convention in a way that every iconoclast, especially musical ones, dare to every chance they get. After such an illustrious career, it's evident that Liebman has earned the right to cherry pick his projects and challenges. Lineage is just that kind of project.

Billed as "rock and pop classics revisited," Lineage is actually a project long in coming. Liebman and drummer Michael Stephans talked about the idea a few years ago and started compiling a wish list of possible songs. Given the trajectory and complexity of Lieb's career, they never got the chance to pull it off. Still it hung around and never really faded out of view.

In 2010, the idea resurfaced. Lieb, with Stephans, guitarist Vic Juris , Bobby Avey on keys, Evan Gregor on bass, and woodwinds guru Matt Vashlishan began working on them the way a baker kneads hunks of dough. The list of potential covers, begun years back by Lieb included several of their favorite songs from the 50s and 60s by artists like Elvis, the Ventures, and, of course, the Beatles.

Produced by Liebman and Stephans, recorded at Tommy Tedesco's Tedesco Studio and mixed by Marty Mellinger at Cross Keys, the recording, on the Whaling City Sound imprint, falls at a beautiful and logical crossroads of Liebman's career…in which he is comfortable enough to go "pop," inventive and mature enough to deconstruct songs with wit and imagination, and entertaining enough to make sure he doesn't leave listeners on either the pop or the jazz sides behind in the process.


The music of Sly & The Family Stone is celebrated with a new 4-CD box set, Higher!, available everywhere August 27th through Epic/Legacy, a division of Sony Music Entertainment. Released in celebration of Sly Stone's 70th birthday, Higher! is the first career-spanning anthology to celebrate the musician whose funk has influenced everyone from Miles Davis and Michael Jackson to Public Enemy and the Roots. Housed in a colorful slipcase with a lavishly-illustrated 104-page book, the box set will feature 77 tracks, 17 of them previously unreleased.

Spotlighted throughout the first three CDs of Higher! are rare mono single masters of every classic Sly & The Family Stone signature hit like they've never been heard before in the digital era. Paying homage to the golden age of transistor radios are mono versions of "Dance To the Music," "Everyday People," "Stand!," "I Want To Take You Higher," "Hot Fun In the Summertime," "Thank You (Falettinme Be Mice Elf Again)," and many others, more than 30 mono single masters and mono album cuts that were a call-out to get up and dance, dance, dance. Decades after the chart debut of Sly & The Family Stone with the game-changing "Dance To The Music," fans and newcomers will have the opportunity to dig into this far-reaching anthology, covering the recording career of Sylvester Stewart starting in 1964, and the band he master­minded from 1966 to 1977 on Epic Records.

Higher! pays tribute to the unique style of Sly & The Family Stone with its innovative ten-inch square package design, which houses the CDs in its interior pockets. The middle compartment contains a painstakingly detailed 104-page book featuring a liner notes essay, a beautifully-illustrated timeline of Sly's career, track-by-track annotations, rare and uncirculated photography, 45 rpm label and picture sleeve repros, eye-popping vintage concert posters and ticket stubs from Sly & The Family Stone shows, and more.

Sly & The Family Stone laid down a template that not only inspired an era of youthful rebellion and independence as the '60s turned into the '70s, but also had (and continues to have) a potent effect on the course of modern music in general. Sly's DNA is traceable to every cell of the musical stratosphere.

"Sly Stone's music is relevant because he was able to take from all the influencing genres before him and along side him, and combine it like gumbo," said Public Enemy frontman Chuck D. "Then inside the band, having women, having it mixed race and ethnic background − I mean, come on now. You really couldn't point and say 'well, this is the reason why it's funky,' it's all this together like gumbo that's making this happen. And Sly & The Family Stone was the epitome of a group playing the music, saying the lyrics, and also backing with the words."

Sly & The Family Stone have been inducted into the Rock And Roll Hall Of Fame and the Grammy Hall Of Fame, and have received the R&B Foundation Pioneer Award, among many other recognitions of their importance and enduring influence.

Higher! is a tribute to the far-reaching horizons of Sly & The Family Stone. Their repertoire, every composition penned by Sylvester Stewart aka Sly Stone, kept the Pop and R&B charts jumping for seven glorious years from 1968 to 1975. There are the three career-defining RIAA gold Billboard #1 Pop/#1 R&B hits, "Everyday People," "Thank You (Falettinme Be Mice Elf Again)" and "Family Affair." Their signature Top 40 hits began with "Dance To the Music" and went on to include "Stand!," "I Want To Take You Higher," "Hot Fun In the Summer­time," "Runnin' Away," "If You Want Me To Stay," "Time For Livin'," and more. Their top-charted RIAA gold, platinum and multi-platinum albums include Stand! (1969), Greatest Hits (1970), There's A Riot Goin' On (1971), and Fresh (1973), every one a must-have.

In addition to those durable numbers (all of which are in mono up through 1969's "Thank You (Falettinme Be Mice Elf Agin)", Higher! opens CD One with seven pre-Epic Records tracks. These include five rare solo sides by 'Sly Stewart' during his time as A&R-producer-song­writer-staff musician circa 1964-'65 at San Francisco's Autumn Records . These include both sides of the rare (and widely bootlegged in the U.S. and Europe) Loadstone Records single of January 1967 by Sly & The Family Stone, which helped win the band their Epic Records deal. One of these sides is a cover of Otis Redding 's "I Can't Turn You Loose." The Epic story begins with the mono single master of "Higher" in May 1967 (Disc One, track 8).

Of the many impossibly rare and fascinating inclusions on Higher! special attention is paid to the four tracks that close CD Three. They were recorded live at the Isle of Wight Festival in the UK, early Sunday morning, August 30, 1970, one year after Sly's memorable wee hours performance at the Woodstock Music & Art Fair . Two of the Isle of Wight numbers, "Stand!" and "You Can Make It If You Try," were subsequently issued on the Columbia three-LP release from 1971, The First Great Rock Festivals Of The Seventies. (The big multi-artist package coupled Isle of Wight performances with others at the first Atlantic Pop Festival of July 1970.) The two other numbers by Sly & The Family Stone at Isle of Wight, namely "Dance To The Music" and the medley of "Music Lover / I Want To Take You Higher / Music Lover" (a variation on their medley from the Woodstock soundtrack album), are both previously unissued until now.

Higher! serves as a new model for the most diligent and imaginative efforts that can go into a vintage collection of this nature. The box set was produced by Legacy Recordings veteran and Sundazed Records owner Bob Irwin , with Project A&R by Rob Santos at Legacy. All music was mastered by Vic Anesini at Battery Studios in New York.

Three major elements are central to the 104-page book. There is the authoritative liner notes essay written by Jeff Kaliss , author of I Want To Take You Higher: The Life And Times Of Sly & The Family Stone, the group's only authorized biography. The booklet also contains a comprehensive, lavishly-illustrated timeline compiled by Dutch authorities Edwin & Arno Konings . Nearly 100 entries span from March 15, 1943 (" Sylvester Stewart is born in Denton, Texas. Six months later, the family moves to Vallejo, California") to a final update in late-2012. The Koningses have also contributed track-by-track annotations for all 77 cuts in Higher! The notes contain excerpts from Thank You, the Koningses' own forthcoming biography of Sly & The Family Stone. (Go to

Every track-by-track annotation contains at least one revelation, as told to the writers by original Sly & The Family Stone band members Greg Errico, Larry Graham, Jerry Martini, Cynthia Robinson, and Sly Stone himself, as well as such figures as Rachel Donahue (widow of Tom Donahue ), managers Rich Romanello (1967) and David Kapralik (1967-1972), Epic A&R man Stephen Paley , bassist Rustee Allen (who succeeded Graham in 1973), all three drummers who succeeded Errico post-1971 ( Gerry Gibson , Andy Newmark , Bill Lordan ), various background vocalists, saxophonists, bassists, and so on. All their collective statements and observations, as transcribed by the Koningses, add to the value of Higher! as a valuable memoir in and of itself.

"Refracted in these treasures," Kaliss says of the kaleidoscopic delights on Higher! "are colors you may be unused to seeing in Sly: old R&B, jazz, nursery rhymes, gospel, and even country, fused and transformed by a precious visionary and his fellow musical alchemists."

In addition to Jeff Kaliss , and Edwin & Arno Konings , other essential reading includes: Sly and the Family Stone: An Oral History by Joel Selvin (HarperCollins, 1998); and There's A Riot Going On by Miles Marshall Lewis (Bloomsbury "33 1/3" series, 2006).

Higher! by Sly & The Family Stone
Disc One (1964-1967):
1. I Just Learned How To Swim by Sly Stewart ( Autumn Records single, 1964)
2. Scat Swim by Sly Stewart (Autumn single, 1964)
3. Buttermilk (Part 1) by Sly (Autumn single, 1965)
4. Dance All Night by Sly and Freddie (1965, originally unissued)
5. Temptation Walk by Sly (Autumn single, 1965)
6. I Ain't Got Nobody (For Real) (Loadstone single, 1967)
7. I Can't Turn You Loose (Loadstone single, 1967)
8. Higher (mono Epic single master, promo only, 1967)
9. Underdog (mono Epic single master, 1967)
10. Bad Risk (mono Epic single master, 1967)
11. Let Me Hear It From You (mono Epic single master, 1967)
12. Advice (A)
13. If This Room Could Talk (A)
14. I Cannot Make It (A)
15. Trip To Your Heart (A)
16. I Hate To Love Her (A)
17. Silent Communications (1967, previously unissued)
18. I Get High On You (version one, 1967, previously unissued)
19. I Remember (1967, previously unissued)
20. My Woman's Head (instrumental demo, 1967, previously unissued)

Disc Two (1967-1968):
1. What's That Got To Do With Me (1967, previously unissued)
2. Fortune And Fame (1967, previously unissued)
3. What Would I Do (1967, originally unissued, B)
4. Only One Way Out Of This Mess (1967, originally unissued, B)
5. I Know What You Came To Say (1967, previously unissued)
6. Dance To The Music (mono Epic single master, 1967)
7. Ride The Rhythm (C)
8. Color Me True (C)
9. Are You Ready (C)
10. Don't Burn Baby (C)
11. We Love All (D)
12. Danse A La Musique by The French Fries (mono Epic single, 1968)
13. Small Fries by The French Fries (mono Epic single, 1968)
14. Chicken (mono Epic single master, 1968)
15. Into My Own Thing (E)
16. Life (mono Epic single master, 1968)
17. Love City (1968, previously unissued mono mix)
18. M'Lady (mono Epic single master, 1968)
19. Dynamite! featuring Johnny Robinson on vocals (1968, previously unissued)
20. Undercat (instrumental, 1967, previously unissued)

Disc Three (1968-1970):
1. Everyday People (mono Epic single master, 1968)
2. Sing A Simple Song (mono Epic single master, 1968)
3. I Get High On You (version two, 1968, previously unissued)
4. Wonderful World Of Color (instrumental, 1968, previously unissued)
5. Pressure (originally unissued, F)
6. I Want To Take You Higher (mono Epic single master, 1969)
7. Seven More Days (originally unissued, F)
8. Feathers (instrumental, 1968, previously unissued)
9. Somebody's Watching You (G)
10. Sex Machine (G)
11. Hot Fun In The Summertime (mono Epic single master, 1969)
12. Everybody Is A Star (mono Epic single master, 1969)
13. Thank You (Falettinme Be Mice Elf Agin) (mono Epic single master, 1969)
14. Stand! (LIVE at the Isle of Wight Festival, August 30, 1970, H)
15. You Can Make It If You Try (LIVE, same as track 14, H)
16. Dance To The Music (LIVE, same as track 14, previously unissued)
17. MEDLEY: Music Lover / I Want To Take You Higher / Music Lover (LIVE, same as track 14, previously unissued)

Disc Four (1971-1977):
1. Luv N' Haight (Epic single master, 1971)
2. Family Affair (I)
3. Brave & Strong (Epic single master, 1971)
4. Runnin' Away (Epic single master, 1971)
5. (You Caught Me) Smilin' (Epic single master, 1971)
6. Spaced Cowboy (I)
7. You're The One featuring Little Sister (LIVE on Don Kirshner 's Rock Concert, September 1973, peviously unissued)
8. In Time (J)
9. If You Want Me To Stay (Epic single master, 1973)
10. Frisky (Epic single master, 1973)
11. Skin I'm In (J)
12. If It Were Left Up To Me (Epic single master, 1973)
13. Time For Livin' (Epic single master, 1974)
14. Can't Strain My Brain (Epic single master, 1974)
15. Loose Booty (K)
16. Le Lo Li (Epic single master, 1975)
17. Crossword Puzzle (Epic single master, 1975)
18. Family Again (Epic single, 1976)
19. Hoboken by Sly Stone (originally unissued, 1975-1977)
20. High by Sly Stone (1975, previously unissued)

Epic Records album index:
A – from A Whole New Thing (originally released November 1967, as Epic LN 24324, mono)
B – from A Whole New Thing (Expanded Edition) (originally released April 2007, as Epic/ Legacy 82796 90277 2)
C – from Dance To The Music (originally released April 1968, as Epic BN 26371)
D – from Dance To The Music (Expanded Edition) (originally released April 2007, as Epic/Legacy 82796 90274 2)
E – from Life (originally released November 1968, as Epic BN 26397)
F – from Life (Expanded Edition) (originally rel. April 2007, as Epic/Legacy 82876 83945 2)
G – from Stand! (originally released April 1969, as Epic BN 26456)
H – from The First Great Rock Festivals Of The Seventies (originally released August 1971, as Columbia C 30807)
I – from There's A Riot Goin' On (originally released October 1971, as Epic KE 30986)
J – from Fresh (originally released June 1973, as Epic KE 32134)
K – from Small Talk (originally released July 1974, as Epic PE 32930)

Source: Legacy Recordings


Internationally, the album hit the #1 spot on digital charts in 97 countries, dominated UK charts to become the fastest selling album of 2013 and had the biggest first week album sales in France since 2007, where the album is already triple platinum. Daft Punk also earned their first official #1 album in multiple countries, including the US, Germany, Australia & Japan. The album is also officially #1 in France, Canada, Switzerland, Spain, Austria, Mexico, Italy, Belgium, Spain and others. In the US, Random Access Memories sold 339,000 copies, with the vinyl version becoming the biggest selling vinyl album in SoundScan's LP Vinyl chart history. Random Access Memories is the first album in Billboard's Electronic/Dance Song chart history to have every song debut simultaneously.

Incredible public demand for the album not only led to unprecedented album sales and radio charting, but also to a steady stream of critical acclaim from media worldwide including features in The Wall Street Journal, Billboard, The New York Times, NME, Rolling Stone, Time, The New Yorker and many more.

"Get Lucky," the first single from Random Access Memories immediately shot to the top of charts all over the world- selling 2.5 million digital tracks worldwide to date. It is the biggest selling single of 2013 in the UK, and the song is #1 on national airplay charts across the globe. In the US, "Get Lucky" has garnered airplay across 7 different formats of radio. The new 13 track album from the French duo, their first since 2005's Human After All, features collaborations with Pharrell Williams , Julian Casablancas, Panda Bear, Nile Rodgers, Giorgio Moroder , Paul Williams , Todd Edwards , Chilly Gonzales, and DJ Falcon, amongst others. ~ Columbia Records


How can a band that's merely three years old sound so timeless? That's a question you will undoubtedly ask yourself when listening to the Tedeschi Trucks Band's Made Up Mind, due from Sony Masterworks August 20th. Their third full-length release, Made Up Mind is the highly anticipated follow-up to 2011's Grammy-winning debut Revelator and last year's scorching live collection, Everybody's Talkin'.

But the answer to the above question is simple: When the dynamic vocalist and guitarist Susan Tedeschi and her guitar virtuoso husband Derek Trucks merged their talents and constructed a new, 11-piece juggernaut, they were pooling many years of experience and collective musical knowledge. Derek—who has also been a mainstay of the legendary Allman Brothers Band for more than a decade, and leader of The Derek Trucks Band—first slung a guitar over his shoulders at age 9 and is currently ranked number 16 on Rolling Stone's 100 Greatest Guitarists of All Time list. Susan is a roots music powerhouse who was nominated for five Grammys on her own, including Best New Artist in 2000, before the formation of TTB (as their fans have come to know them). Made Up Mind is where all of the instrumental, vocal and songwriting prowess of music's greatest power couple—and that of their superb bandmates—truly meshes in a big way.

"We knew we wanted to be a little bit bolder with this record, not be afraid to do whatever we felt was really great," says Tedeschi, who first met Derek in New Orleans in 1999 when her previous band was opening for an Allman Brothers Band tour. "We're all friends and family. Now we're finally making the music we want to make. It's really an exciting time."

Adds Trucks, "What I noticed most while making this record was there was more confidence. On Revelator everyone was still feeling each other out. Then, after a few years on the road, with a live record along the way, everyone unleashed and played a little freer. We didn't want to force the sound and tell it what it was going to be. We wanted to see where it took us. Once we hit the studio for Made Up Mind, we didn't even have to think about it."

Made Up Mind is nothing less than a quantum leap forward for TTB. If Revelator and Everybody's Talkin' were all about finding their way, the new effort is where they emerge as a fully formed band for the ages. Throughout the course of the album it becomes increasingly apparent that Susan Tedeschi has evolved into one of the most dauntingly commanding vocalists in contemporary music, her serious lung power exploding on standout tracks such as the uber-funky "Misunderstood" and just as convincingly digging into the core of poignant, tender acoustic ballads like "Calling Out to You" and "Idle Wind". Derek Trucks has indisputably matured into one of the monster guitarists of our time, tearing up barnburners like the title track "Made Up Mind" with his masterful slide and lead licks while showcasing his easier, more subtle touch on the bluesy "Do I Look Worried".

Co-produced by Jim Scott ( Johnny Cash , Red Hot Chili Peppers, Wilco) and Trucks—Made Up Mind was recorded in the band's home base of Jacksonville at Derek and Susan's Swamp Raga Studios. Working closely with Scott, who also engineered and mixed the album—and with whom Derek co-produced Revelator—Trucks' ever-expanding expertise as a studio production whiz is displayed continually and definitively in the choices he made throughout the sessions. For Trucks, the studio has become another instrument to master, and Made Up Mind leaves no doubt that his skills as a producer now rank right alongside his expertise as a player and songwriter.

Although Tedeschi Trucks Band bears the names of its co-leaders, each of its components— Kofi Burbridge (keyboards, flute), Tyler Greenwell (drums, percussion), J.J. Johnson (drums, percussion), Kebbi Williams (saxophone), Maurice Brown (trumpet), Saunders Sermons (trombone & vocals), Mike Mattison (harmony vocals) and Mark Rivers (harmony vocals)—is operating at full throttle on Made Up Mind. There are no weak links—everyone here is contributing equally. Those keeping count will notice that that adds up to 10 musicians—the new release marks the first time that TTB has recorded since the departure of its original bassist, Oteil Burbridge. Rather than replace him immediately, the group has utilized the services of several bass players on the album ( Pino Palladino , Bakithi Kumalo, George Reiff and Dave Monsey ), and has been rotating bassists at their gigs as well.

Most of the tracks on Made Up Mind were penned by Tedeschi and Trucks with various co-writers—including Doyle Bramhall II , Eric Krasno , Gary Louris and John Leventhal , all of whom also contributed to TTB's debut Revelator. The maiden single from the album, "Part of Me," a vocal duet between Susan and trombonist Sermons, stands out as a particular highlight, reminiscent of the classic R&B emanating from the Memphis and Muscle Shoals soul scenes of the '60s and '70s. The title track "Made Up Mind", authored by Tedeschi, Trucks and Oliver Wood , is a balls-out soul-rocker in the tradition of early Bonnie Raitt and Delaney & Bonnie. This one, says Susan, "is an empowerment song: I know you want to see me, you want to do this, but I'm on my own and I've branched out now. It could be anything from a child growing up and getting out to a woman moving on, or the kind of thing where this person has made a change. It's sort of a rebirth."

Or, as Derek adds, it could be about the current state of TTB: "It makes a statement that this band knows what it wants to do and is here to stay. Take it or leave it, this is what it is," he says.

With their increasingly articulate and affecting songcraft, unparalleled musicianship and an honest, gutsy sound that incorporates multiple stylistic influences and can only result from hard work and openness to ideas, it's a given that many more will make up their minds to take Made Up Mind than to leave it.

Tracklisting: 1 Made Up Mind / 2 Do I Look Worried / 3 Idle Wind / 4 Misunderstood / 5 Part of Me /
6 Whiskey Legs / 7 It's So Heavy / 8 All That I Need / 9 Sweet And Low / 10 The Storm / 11 Calling Out To You

Source: Sony Masterworks

Tuesday, May 28, 2013



A set that's maybe a bit more subtle than you'd expect from the "vortex" in the title – but one that definitely has a compelling quality that really draws us in! The set features piano from Benjamin Taubkin and gentle percussion from Adriano Adewale – spun out over these long tracks that build slowly, almost with a sense of improvisation – save for the fact that Taubkin remains extremely melodic throughout, and really paints these lovely little pictures in sound – of the sort we've really come to appreciate in his playing over the years. Adewale's nicely restrained, too – and even drops out on one number – shading things in with deft touches that are almost more melodic than rhythmic too. Titles include "Blue In Green In Yellow", "Samba", "Berimbau", and "Landscapes Impressions of Ireland". ~ Dusty Groove.

A killer collection of work that digs deep into the trippiest sounds of Brazilian music – that great wave of experimentation started in the Tropicalia years, carried on strongly well into the 70s – and even into more recent years as well! Brazilian music is a surprising wellspring of psych modes – and often, their take on the genre is quite different than American and Anglo modes – often a bit more subtle, less self-indulgent, and without any sort of rockish posturing – which really makes work like this a great revelation! Titles include "Cantando Ciranda Na Beira Do Mar" by Siba, "Nordeste Oriental" by Lula Cortes, "O Jarro" by Baby Do Brasil, "Renata" by Liverpool, "Mini Box Lunar" by Amarelasse, "Piri" by Reza Brava, "Ca Pra Nos" by Lucas Santtana, "Anthropologica II" by Marconi Notaro, "Lindo Toque" by Graveola, "Obnoxious" by Jose Mauro, "and "Alergico De Flores" by Laranjua Freak. Also features a full bonus album, too – the modern psych sounds of Jupter Maca – a full reissue of the album A Setima Enfervesencia from 1996. ~ Dusty Groove


A beautiful tribute to the music of Egberto Gismonti and Hermeto Pascoal – but presented in a fresh style that's very different than the originals! Gismonti and Pascoal were two of Brazil's most inventive composer/musicians of the 70s – both very open to new sounds, new rhythms, and new ways of putting instrumentation together – often with complex larger arrangements that really moved past any sort of simple styles or genre conventions! Here, pianist Andre Mehmari and mandolinist Hamilton De Holanda take things back to basics – and offer up these beautifully intimate readings of tunes by both composers – but with really lively instrumentation that still recalls all the deftness you would have heard from either of the original musicians. Holanda's work on the strings has never been more complex – or more magical – and Mehmari's got a rhythmic pulse and way of serving up colors at the same time – a beautiful style that really comes through on tracks that include "Frevo", "Sao Jorge", "Sete Aneis", "Palhaco", "Fala Da Paixao", "Bebe", and "Loro" – plus a few original tribute numbers by the duo too! And as a special bonus, both Gismonti and Pascoal each guest on one number in the set! ~ Dusty Groove



One of the most dynamic albums we've ever heard from flutist Althea Rene – a set that's still got all her sweet soulful solo work firmly in place, but one that also adds in a bit more groove at the bottom too! The album's done in close collaboration with Michael Broening – who plays keyboards and handles the rhythm tracks throughout – providing a fresh setting for Rene's well-crafted lines on both conventional and alto flute – both instruments she blows with a slinky, soulful depth that takes us back to Bobbi Humphrey in the 70s! Titles include "La Solstice", "Flutations", "Free", "In The Flow", "FM 1960", "Song For Wilhelmina", and "Used To Love You" ~ Dusty Groove

ZBONICS - TIME TO DO YOUR THING   The name's a bit unfamiliar, but the group's a great one – and an ensemble that features some major talents of recent years – including Gregory Porter on vocals, Robert Walter on keyboards, Karl Denson on saxes, and Melvin Sparks on guitar! The style's got all the classic modes you'd guess from such a lineup – a righteous blend of jazz, soul, and funk – with an instrumental groove that's already pretty darn great, but which really takes off once Gregory Porter's vocals come into the mix! Porter's one of our favorite jazz singers in recent years, and it's great to hear him in such a setting – and our hat's off to drummer Zak Najor for leading the group, and bringing Porter aboard for a few tracks. Titles include "She Danced Across The Floor", "Catchin Sparks", "Soul Good", "Wash Cloth", "He Said", "Issues Of Life", "Zak Attack", "Just IN Time", "Mystery", and "Scone Break". ~ Dusty Groove  
TONY ALLEN & ABAYOMY AFROBEAT ORQUESTRA FEATURING BNEGAO   A sweet little single – not just for the cool 10" format, but for the great grooves within! "Meus Filhos" is a classic funky track written by Jorge Ben – and delivered here in a tight Afro Funk mode that's way different than the original – lots of tight drums from Tony Allen at the core, great horns from the Abayomy Afrobeat Orquesta, and even a bit of vocals from BNegao! The flipside features a remix by Robin Leduc, but the sound is still very much in the best acoustic mode of the main cut – with mostly just a bit of change in the structure and a few sonic elements! ~ Dusty Groove

Friday, May 24, 2013


It takes time to develop a deep rapport within a jazz ensemble. Often in today's jazz community, this is not seen as cost effective, and as a result, jazz has become a scene of one-off gigs with minimal preparation and everyone reading the music.

Fortunately, you can still find bands that invest the time to evolve as a unit. Trumpeter John McNeil and saxophonist Jeremy Udden established Hush Point as a group that does just that. Also including bassist Aryeh Kobrinsky and drummer Vinnie Sperrazza, Hush Point is a working and rehearsing ensemble, and on their new self-titled album, Hush Point, the group shows a cohesiveness of concept that is only achieved through hours of practice, performance and experimentation. The wide stylistic range of their repertoire is immediately striking to the listener.

McNeil has had a long and varied career since his move to New York in the 1970s. He began subbing in the Thad Jones/Mel Lewis Orchestra and was a member of the Horace Silver Quintet and Gerry Mulligan's Concert Jazz Band. Eventually he began leading his own groups, recording at least eighteen albums under his own name or in collaboration with other artists. In addition to performing, he works as a composer/arranger and producer.

Udden has developed a unique approach in both his playing and composing. The alto saxophonist has been involved in wide ranging projects - like the Either/Orchestra and Mulatu Astatke's ensemble - and has played and recorded with legendary musicians like Bob Brookmeyer and Steve Lacy. His ensembles have shown his vastly eclectic breadth, from Ethiopian music to folk-rock.

Though McNeil and Udden had long been familiar with each other on the New York jazz scene, their work together didn't begin until 2011 when they began to meet for informal practice sessions. McNeil hadn't been aware of the depth and maturity of Udden's writing, and the two found themselves sharing compositional ideas and improvising spontaneous complementary lines. Simpatico in many ways, their styles fit together naturally. For some time they talked of putting a band together and it became a priority after Udden subbed one night in McNeil's band, where they heard their work shine in a live setting.

They knew that if they put a group together, the drummer and bassist would need to be open to new concepts and willing to rehearse, discuss, and internalize the music.

The drummer would have to embrace the idea of using brushes only, which allows the two horn players to use a wider expressive dynamic range and still be easily heard. The drummer still needed to bring a lot of intensity, however, and Vinnie Sperrazza was up to the challenge. Vinnie enjoys a very busy freelance jazz career which has allowed him to play an astounding variety of music, so the idea of doing something new is just business as usual.

In Aryeh Kobrinsky, they found a bassist who is a strong, expressive player, ready for anything, and another good writer as well. Aryeh is more harmonically perceptive than most, and always thinks compositionally. Whatever direction a piece of music takes, he will naturally give it form and help the overall arc of the performance.

Though McNeil and Udden put the group together, it is now a truly cooperative venture. As a democracy, the ensemble enthusiastically focused on developing their concept. The overall ethic would be a high level of interplay and counterpoint, without traditionally defined roles for each instrument. Energy would be sustained without resorting to sheer volume, unlike the tendency of many contemporary ensembles.

The members of Hush Point disagree with the predominant feeling among jazz musicians that to discuss any aspect of creativity is to somehow make it less genuine. The workshop approach led to discussions that could become heated, but it also led them to develop a common direction and to respond instantly to any new idea.

The recording Hush Point provides a wonderful glimpse into their musical world.

The album begins with clarinetist/conceptualist Jimmy Giuffre's "Iranic," a programmatic work, which breaks down the roles of the band members with a series of duets. McNeil's "Peachful" is a joyous tune full of major chords and reggae rhythm. A tribute to mentor Bob Brookmeyer, Udden's "B. Remembered" is a subtle, swinging sax-led tune over the chord changes from "I Remember You." "Bar Talk" is an Udden composition inspired by Béla Bartók's Mikrocosmos while "Fathers and Sons" presents an older theme of Udden's that he felt fit McNeil's sound perfectly. The group improvises over an abstract version of the changes from "Long Ago and Far Away." McNeil's "Finely Done" is next, a minor blues with a bridge and a Gerry Mulligan / Chet Baker vibe.

Originally written for his band Plainville, Udden's "New Bolero" fits the sonic range of McNeil and this ensemble perfectly. "The Train and the River" is another piece by Giuffre, a standard bearer for the ensemble. The arrangement is by McNeil and remains tonal but with more dissonant harmony than the original. McNeil's "Get Out," roughly based on "Get Happy," is a stripped down composition in the mold of the Sonny Rollins and Don Cherry Quartet. The album concludes with Kobrinsky's "Cat Magnet," a sauntering country tune as expressive as anything in the genre.

Hush Point bucks many of the current trends in jazz in its concentration on developing innovative dynamics between band members, instant communication and an overall band sound in addition to repertoire. Their new CD is no doubt the first of many.


Occupy The World is an instant classic of creative orchestral music. Over five extended compositions, a total of almost two hours of music, composer and trumpeter Wadada Leo Smith leads a new large ensemble, TUMO, to a unique sound world where composed elements meet with strong soloists and group improvisation.

Occupy The World features the legendary composer and trumpeter Wadada Leo Smith with TUMO in its first appearance. The 21-member TUMO, a new improvising orchestra that was assembled specifically for each project, performs five extended compositions by Smith, including "Occupy The World For Life, Liberty and Justice," perhaps his most ambitious recorded composition to date. The four other compositions were also recorded for the first time for this double-CD and include "Queen Hatshepsut," that was inspired by this ancient ruler of Egypt, the first female leader of a major civilization in history; "The Bell - 2," which took Smith's first recorded composition, "The Bell" (included on Anthony Braxton's 3 compositions of new jazz in 1968), as its starting point; "Mount Kilimanjaro," a concerto for double bass and a large ensemble that Smith dedicated to its soloist John Lindberg; and "Crossing On A Southern Road," Smith's moving dedication to the late saxophonist Marion Brown. In addition to the principal soloists, Wadada Leo Smith on four compositions and John Lindberg on one, Occupy The World features trumpeter Verneri Pohjola, trombonist Jari Hongisto, saxophonists Mikko Innanen and Fredrik Ljungkvist, flutist Juhani Aaltonen, pianist Seppo Kantonen, harpist Iro Haarla, accordionist Veli Kujala, guitarists Kalle Kalima and Mikko Iivanainen and drummers Mika Kallio, Stefan Pasborg and Janne Tuomi, among others.

Wadada Leo Smith (b. 1941), whose roots are in the Delta blues and who was part of the first generation of musicians to come out of Chicago's AACM, has established himself as one of the leading composers and performers of creative contemporary music. Already in the late 1960s, Smith formed the Creative Construction Company together with saxophonist Anthony Braxton and violinist Leroy Jenkins and, since the early 1970s, he has mostly performed and recorded with his own groups. He currently leads four principal ensembles: the Golden Quartet, Mbira, Organic and the Silver Orchestra. In May 2012, Smith released his most extensive recording to date: Ten Freedom Summers, a four-CD collection of 19 compositions inspired by the civil rights movement in the United States, which was recently a Finalist for the Pulitzer Prize in Music and has garnered wide praise and accolades.

TUMO, or Todella Uuden Musiikin Orkesteri (in English, the Really New Music Orchestra), is a new large ensemble that performed for the first time at TUMfest12 in Helsinki, Finland, in February 2012 under the leadership of Wadada Leo Smith. TUMO is not intended to become an institutionalized orchestra. Instead, it is a loose aggregation of musicians with a shared interest in creative improvised music, many of them among the leading improvisers in the Nordic region. The musicians performing in this first incarnation of TUMO come from different generations, different backgrounds and even different countries, but are all brought together by their interest in creative improvised music, with most coming from a background in jazz and improvised music and others from a background in classical music. Altogether, in this first appearance, TUMO is a unique, one-time-only meeting of a diverse group of high-caliber musicians.

The CD will be released on June 18, 2013.



A great large group project from reedman Oliver Lake – and a great reminder of his mighty strengths as a writer and arranger too! Right from the start, Lake's had a great ability to move between smaller, intimate settings and more ensemble-based music – and here, he's at the helm of a great batch of well-chosen reed players – all of whom move together as one to realize Lake's complicated charts for the record! The set explodes with bold hues and rich tones right from the start – a shifting palette that only gets stronger as the album moves through Oliver's original compositions – material played by Mike Lee and James Stewart on tenor, Darius Jones and Bruce Williams on alto, Jason Marshall on baritone, Stafford Hunter and Aaron Johnson on trombones, and Walton Ricks, EJ Allen, Nabate Isles, and Freddie Hendrix on trumpets. Titles include "Drum Thing", "Is It Real", "Philly Blues", "Maasai Moves", "Studder", and "Wheels Suite". ~ Dusty Groove

Some of the noisiest music we've heard so far from Cherrystones – a sweet set that's heavy on fuzz and electronics, but which still holds onto the strong sense of beat from before! There's a pretty dark vibe to most of the record – a bite that goes way beyond downtempo, and which reminds us of the way that Cherrystones first shook things up years ago – opening ears to corners of sounds that weren't always treated in the same way as funk – a journey that's taken us miles to get to the place of this striking little set! Titles include "Bruised Meats", "Dirty Washing", "Molecular Battler", "Moonstone", "Red Nails", and "Robots Kin". ~ Dusty Groove


Brooding sounds from Justin Velor, aka Dom Thomas – and a set that's definitely worthy of placement on the Brutal Music label! The set's a mix of different post-punk energies with a UK twist – sometimes abstract noise, sometimes more groove-conscious rhythms – but often with colder electro elements that really give the set a nice sort of vintage vibe, despite the contemporary date! Yet Justin also makes great use of modern modes to fit the whole thing together nicely – a great mix of sounds that also features guest work from Gerry Love, Jez Williams, Marie Chantecaille, and Leee John. Titles include "Relance", "Flameout", "Energiser", "Listen", "The Rain", "Oscillations", "Escape To Oblivion", and "Missing You". ~ Dusty Groove

Thursday, May 23, 2013


The Ladies At Joe Gibbs” brings together 19 classic hits from the female artists Gibbs recorded between 1972 and 1984 & includes six extended versions or extended Deejay cuts! The CD comes with a 12-page booklet with liner notes from Daddy Lion Chandell.

The legendary productions of Joe Gibbs have generated many of the reggae genre’s biggest hits. The producer/label operated predominately between 1972 and 1984. Judy Mowatt, here as Julie Ann (member of Bob Marley’s I-Threes) and June ‘JC’ Lodge went on to have major careers in Reggae music while other names have faded.

The songs and riddims are most familiar and underscore why Joe Gibbs productions were at the top of the genre during these prime years. Some of the re-mastered tracks include previously unreleased extended mixes. Featured tracks include Marcia Aitken “My Man” and “I’m Still In Love With You” (which scored # 1 Pop in England), June ‘JC’ Lodge “Someone Loves You Honey” and a special extended version of Althea & Donna’s classic rocker “Uptown Top Ranking”.

More favourites include Jem & Dean with “Holiday Style” (Riddim: ‘Everday Is Just A Holiday’), Beverly Bailey’s “I Was In Love”, Althea’s “Downtown Thing”, and “I Can’t Stand The Rain” by Hortense Ellis in the extended version!

Tracklisting:  01. Ina Jah Children – Dhaima / 02. My Man – Marcia Aitken feat. Trinity / 03. Gonna Get Along Without You Now – Christine Oliver / 04. Holiday Style – Jem & Dean / 05. Let Me Go Boy – Marcia Aitken feat. Ranking Joe / 06. I Was In Love – Beverly Bailey / 07. Downtown Thing – Althea /
08. Does My Ring Hurt Your Finger – June Lodge / 09. Danger In Your Eyes – Marcia Aitken / 10. Someone Loves You Honey – June Lodge / 11. I’m Still In Love With You – Marcia Aitken / 12. Uptown Top Ranking (Extended Version) – Althea & Donna / 13. Something Precious – Shirley McLain / 14. Emotion – Marcia Aitken feat. Ruddy Thomas / 15. I Can’t Stand The Rain (Extended Version) – Hortense Ellis / 16. The Gardener – Julie Ann (Judy Mowatt) / 17. Baby I’m Yours – June Lodge / 18. United We Stand – Cynthia Richards & Irving Brown / 19. Sweet Sensation – Carol Gonzales



One of reggae’s most prolific artists Sizzla returns with his 70th album The Messiah. Since his emergence in 1995, the enigmatic vocalist has undeniably put his stamp on the genre regardless of the current style or trend. His latest effort showcases his musical depth, passion and precision in partnership with Bread Back productions.

Mostly written and executive produced by Sizzla himself, Kalonji’s full scope of talents are displayed on The Messiah. With a fresh perspective in 2013, the man on a musical mission inspires positive change worldwide on this 15-track collection. His social commentary on songs like “Chant Dem Down,” “No Wicked Man” and “Psalms 121″ reveal his daring bravado and righteous lyrics, while his melodic anthem “Good Love” unveils his softer side.

The buzz around this release has already been circulating his native island. Sizzla recently told the Jamaica Gleaner this “spiritual conscious album” compares to his early classic Black Woman & Child, released in 1997 on VP Records. He also told the Jamaica Observer why he makes music like this compelling collection. Sizzla proclaims “I do music to free the people, unite the world, heal the children.”

Tracklisting: 01. Psalms 121 / 02. Look How Many Years / 03. Center Of Attraction / 04. No Wicked Man / 05. The Messiah / 06. Chant Dem Down / 07. Dem Nuh Business / 08. Suffer So Much / 09. Good Love / 10. One Life / 11. Children Bless / 12. May Di Powerz / 13. Need You Right Now / 14. What A Joy / 15. Better Come



The Maryland Summer Jazz Festival returns on July 13 for its ninth season. The inspiring workshops and jams for musicians and public concerts for jazz lovers take place through July 26. Drawing adult learners and listeners from both coasts, the top-rated event hosts brilliant jazz artists on stages and in classrooms, where they encourage amateur and semi-pro students to get "out of the basement and onto the bandstand." Some students will begin or resume professional music careers; others will keep music as an avocation.

Headlining this year's festival are jazz artists from Brazil, the United States and Canada, recognized as both artists and educators. Among them are guitarist Steve Rochinski , trumpeter John D'earth and bassist Leonardo Lucini .

Boston-based guitarist Steve Rochinski is a prolific author and busy composer, arranger and educator. The Washington, D.C. native has toured widely working with the likes of Tal Farlow , Tim Hagans and Joe Lovano . In 1984 he left the road to teach at Berklee College of Music and has since written numerous books for jazz study. His books and recordings (on Germany's Jardis Records) are sold internationally, and students come from all over the world to study with him.

Protean trumpeter John D'earth is widely known as a performer, composer/arranger, and recording artist. He has played with jazz greats Miles Davis , Lionel Hampton and Pat Metheny , pop artists Dave Matthews and Bruce Hornsby , and chamber groups Kronos String Quartet and The Kandinsky Trio. He directs jazz performance at the University of Virginia.

Virtuoso Brazilian born bassist Leonardo Lucini is a prominent musician and teacher in Washington, DC. He has toured internationally with Nestor Torres , Arturo O'Farrill, Alex Acuna , Federico Pena and Gregoire Maret . In Brazil, he performed with leading groups and artists No Em Pingo D'Agua, saxophonist Paulo Moura and the Orquestra de Musica Brasileira. In the States, he performs with the band Origem and is an artist in residence at Montgomery College.

Artistic Director Jeff Antoniuk is an acclaimed saxophonist and composer from Western Canada. He began cross-continental touring even before earning a master's degree in jazz performance and West African ethnomusicology from the University of North Texas. A recipient of grants from the Canada Council and National Endowment for the Arts, he is an influential figure in the Washington, DC jazz scene.

The heart of Maryland Summer Jazz is a three-day jazz camp July 24-26. Uniquely created for adults, it helps gifted amateurs and semi-pros get their chops up. Each day includes intensive instruction for students from 16 to retirement age. Instructors represent seven different university jazz programs. Attendees hear them in concert, then play with them in small combos grouped by ability level.

Jazz camp provides a continuing education opportunity for music teachers and gives high school and college students a place to sharpen their skills during summer vacation. Scholarships and internships encourage young talent. Older players get the chance to bring their skill and technique to the level of working musicians. Networking opportunities have led to the creation of many popular jazz bands.

Attendees have an option to take a pre-camp clinic on "The Music of Maryland Summer Jazz " on Saturday, July 13. Participants will get a head start on the camp repertoire of beginner through advanced tunes.

Concert Highlights -The kick-off concert for Maryland Summer Jazz will be held at the new Bethesda Blues & Jazz Supper on Tuesday, July 23 at 7:30 p.m. Guitar star Steve Rochinski will join Jeff Antoniuk & the acclaimed Jazz Update band. Another major concert occurs on July 26 at the conclusion of jazz camp, held on the campus, at Saint Mark Presbyterian Church in Rockville, Maryland. A student concert is held at 7:00 p.m. An All Star Concert begins at 8:30 p.m. Ticket holders may attend one or both concerts on the final evening.

Stellar Guest Artists - Eight jazz stars will teach and perform this season. In addition to those mentioned, they include bassist Amy Shook , pianist Wade Beach , trombonist Jim McFalls and drummer Harold F. Summey, Jr.

Jazz camp registration continues through June 30. Military and family discounts are available. For camp information and concert tickets see



A sweet sweet selection of work from Blood Sweat & Tears – and one we love especially because it features their incredible instrumental work for the film The Owl & The Pussycat! The CD offers up a whopping 15 tracks from the film, all instrumentals that have this totally great sound that's unlike anything the group ever did vocally – much more laidback, jazzy, and with lots of sweet Hammond in the mix – often bubbling next to some funky backings, and topped with some great solos on trumpet or tenor too! These cuts are really wonderful – often hidden in the scenes in the film, and later buried next to dialogue bits on the soundtrack album – but presented here for the first time in all their instrumental glory – and showing a real blacksploitation funk side of the group. CD also features some rare mono singles – "Blues Part 2", "More & More", "And When I Die", and "Spinning Wheel" – plus the unreleased track "M", and the very cool "Krakbergravningen". ~ Dusty Groove


In the pocket, and plenty darn funky – a killer collection of 70s jazz funk that's heavy on electricity, yet still keeps things mighty sharp throughout! The groove is tight – tighter than the raw soul of the 60s jazz years – yet never uptight, as all these cuts are plenty fresh and freewheeling, and definitely preserve the most spontaneous vibe of the players. Some cuts have a bit of vocals, some have some larger backings, but all still have some great solos in the middle – with an especially strong emphasis on sweet keyboards! Titles include "Zauis" by Eddie Russ, "Barbara Ann" by Webster Lewis, "Coming To You Live" by Charles Earland, "Brazilica" by Ramsey Lewis, "Sinbad" by Weldon Irvine, "Put It In The Pocket" by Freddie Hubbard, "Palos" by Willie Bobo, "Chicago Theme" by Hubert Laws, "Hop Scotch" by Harvey Mason, and "In The Park" by Lonnie Liston Smith. ~ Dusty Groove


A rare Italian session from vibes genius Milt Jackson – and a set that features Milt on vocals instead of his usual instrument! The format here is really wonderful – and quite a change from what you might expect – as Milt's got this warm, raspy style of singing that's completely charming – and not unlike the really personal inflections he brings to his vibes. The core set features instrumentation by a small group that features Enrico Intra on piano, Giancarlo Barigozzi on alto and flute, Pallino Salonia on bass, and Gil Cuppini on drums – and two more tracks – "Hear Strings" and "Storia Di Un Amore" – feature a larger group. Two final numbers are instrumentals penned by Intra – "Intramood" and "Tribute To Milt" – both great! (Limited to 300 copies! Very cool package – with heavy sleeve and a bonus photo sheet too!) ~ Dusty Groove



Continuing genius from keyboardist James Taylor – exactly the kind of set that supports all the faith we've had in his music over the years! James steps out here in a vibe that's very different than before, yet every bit as great – still keyboard-heavy, with plenty of Hammond – yet also skewed towards a soundtrack sort of vibe – and not the usual funk or soul we've come to expect from Taylor! There's a sweeping sound to the music that's really sublime – like some lost late 60s blend of jazz instrumentation, voices, and strings – often served up with a majesty we've never heard in Taylor's music before, yet still coming across with a heck of a lot of depth and soul! James plays celeste, Fender Rhodes, vibes, and even some tubular bells – and titles include "Closer To You", "Tick Tock", "Fuzzburn", "Nightwalk", "Closer To The Moon", "Pathetique", and "Dark August". ~ Dusty Groove


Razor-sharp funk from The Jig – a group who come across with a really classic feel throughout – and a vibe that's a lot like The JBs at their early 70s best! Like that legendary group, these guys have a great way of fusing their horn parts with their rhythms – compressing trumpet, tenor, and baritone sax down with some mighty sweet Hammond, guitar, bass, and drums – and often with a mostly-instrumental focus that means that the instruments offer up most of the "voice" of the set! Joseph Bowie guests on a few tracks, and Benjamin Herman plays on another – but it's the core group that really gets the album going, and hardly ever lets up at all. Titles include "Move To The Groove", "Super", "Bike Ride", "Smith & Western", "The Gravy Pit", and "Up Or Out". ~ Dusty Groove


The greatest so far from this soulful Chicago group – a combo who are making big waves way beyond the Windy City, thanks to the tremendous vocals of JC Brooks! The album bursts out with a power the group have never had before – a tightness and focus that shows that these guys are definitely the real deal – and have definitely found their own unique voice in a world of copycat soul and funk – a groove that's completely contemporary, yet firmly rooted in the best bits of the past too – as fresh a change to funk and soul as some of the rootsier styles normally associated with Bloodshot Records! Brooks is a hell of a frontman in a live setting, but doesn't always come across this well on record – and the album may well be the first to really show the singer at his best. Titles include "Howl", "Married For A Week", "Rouse Yourself", "Security", "Ordinary", "Control", "Cold", and "River". ~ Dusty Groove


Mosaic Records is set to release Woody Shaw: The Complete Muse Sessions on June 4, 2013. Through a wide variety of styles, personnel, repertoire, and forms of instrumentation, this 7-CD limited edition box set presents a complete narrative of iconic trumpeter Woody Shaw's musical and artistic growth over a 13-year period with Muse Records, from 1974 to 1987, after having moved from San Francisco to New York.

Shaw's arrival at Muse marks a significant turning point in his career, showing early growth from a composer and trumpeter into a bandleader and artistic director. This era also serves as an awakening in his sense of leadership both within the broader scope of jazz and concerning the presentation of his original music.

"This was the era when Woody stepped up and became a leader," states Michael Cuscuna, Mosaic Records founder and producer. "The core of these sessions is the Woody Shaw Concert Ensemble, an expanded group with four horns and one or two percussionists. I loved this setting because it brought out Woody's incredible talents as a composer and arranger with a distinctive harmonic sense."

The box set, which includes nine albums over seven discs, is divided into three parts, each relaying an important segment during this era of Shaw's career. The first set (The Moontrane, 1974; Love Dance, 1975; The Woody Shaw Concert Ensemble Live at the Berliner Jazztage, 1976) groups Shaw's concert ensemble, which features multiple horns and, in some cases, percussion. The second group of recordings (Cassandranite, 1965; Little Red's Fantasy, 1976; Iron Men, 1977) feature the trumpeter's chosen collaborators as a quintet. The third group (Setting Standards, 1985; Solid, 1986; Imagination, 1987) includes recordings done for Muse Records following his tenure with Columbia. This final group in particular exhibits great maturity and refinement from Shaw, exhibiting his innovative approach to the standard repertoire and to more traditional elements of the music.


With Out Here, premier bassist Christian McBride's fifth recording on Mack Avenue Records, McBride introduces his latest working group: a trio, fully embracing (at the soon-to-be age of 41) his role as standard-bearer and mentor. Pianist Christian Sands and drummer Ulysses Owens, Jr. - both younger, emerging artists - have been performing with McBride's smallest group for about three years, honing their trio conception to a fine point of expressive depth and nuance with select performances around the world.

"It's a pretty diversified trio," says McBride descriptively. "The real core foundation is hardcore swingin,' blues and the American Songbook. Part of that is because Christian [Sands] is so well-rounded and willing to go to so many places, that I can't help but want to swing hard with him and Ulysses." McBride, however, thought he'd never helm a jazz trio.

When he hit the jazz scene like a comet at age 17, McBride's huge, woodsy sound and precocious agility invited comparisons to the legendary bassist Ray Brown. The late jazz bassist was not only renowned for performing on classic jazz dates with modern greats from the 1940s onward, but also for his central role in trios led by Oscar Peterson as well as his own stellar trio ensembles afterward. Once McBride recorded with Brown as a member of the early '90s group Superbass, the association was bound to stick. He loved Brown as a mentor and father figure, but avoided leading a trio because of the inevitable comparisons.

Helming a trio was the furthest thing from McBride's mind - until an Inside Straight appearance in 2009 became a trio date due of the absence of saxophonist Steve Wilson and vibraphonist Warren Wolf. But instead of calling for replacements for two members of Inside Straight, he opted for expedience and played the gig with pianist Peter Martin and drummer Ulysses Owens, Jr..

Out Here is McBride's 11th recording as a leader. Since the early 1990s he has recorded on over 300 dates as a sideman. Aside from relatively recent travels with Pat Metheny; Chick Corea, Roy Haynes, John McLaughlin and Kenny Garrett; the Monterey Jazz Festival on Tour - 55th Anniversary; and residencies and artistic leadership roles with organizations ranging from New York's 92nd St. Y and Jazz House Kids to NJPAC, McBride has toured consistently for several years with his own quintet, Inside Straight. He also fronts the Christian McBride Big Band, whose Mack Avenue recording, The Good Feeling, won the GRAMMY® Award for Best Large Jazz Ensemble Album in 2012 - his third GRAMMY® win overall.

Owens has been a mainstay in McBride's groups of late. He has regularly subbed for Carl Allen in Inside Straight and is the drummer for the Big Band. "Ulysses and I have a closely formed musical relationship, where we know one another's time and feel very well," McBride says. "I think he's picking up the tradition after Lewis Nash. I love his combination of technique and artistry."

McBride had his eye out for Sands ever since hearing him on Marian McPartland's National Public Radio "Piano Jazz" program. "I knew he was a student of Dr. Billy Taylor's. But when I heard him he floored me. It was amazing hearing an 18-year-old really dealing with the tradition. He had his technique together, and all his tempos - ballads, medium, bebop. Plus he played the blues and could get esoteric too. I thought: finally, a young player who has all of the language. It was such a relief."

Considering the tendency of many young players to focus on complex rhythms, baroque technique, and being different for the sake of difference, hearing these three gentlemen explore jazz fundamentals with such wonder, drive and sensitivity serves as a welcome antidote. "My trio seems to be an anomaly these days," says McBride. "I find myself, when listening to young guys on the scene, it's very musically clever, but I'm not feeling that kind of soul satisfaction that I felt at one time. There was a time when the young guys took pride in paying tribute to the masters but still keeping their own identity and remaining within their own generation."

With Sands and Owens, McBride exhales with relief since they play the full spectrum of the music at will. Out Here opens with "Ham Hocks and Cabbage," a flowing, feel-good, down-home blues with intro by Sands and melody by McBride. Oscar Peterson's "Hallelujah Time" is a praise song to the divine taken up-tempo, with rejoicing solo turns by McBride on bow; and Sands, who trades eights with Owens before the trio closes with panache. An even faster tempo emboldens their reenactment of the Ahmad Jamal trio arrangement of "Cherokee," alternating a waltz tempo with jet-speed precision rarely attempted since the glory days of bebop. Owens especially shines here, demonstrating a range of brush and stick work worthy of envy.

Wistful memories inspirit "I Guess I'll Have To Forget," originally recorded on McBride's Sci-Fi date in 2000. On that recording, McBride says the song had "all these detours and side roads to it. I brought it back this time for some variety, to break up the mood and atmosphere. The way the song is played now is actually the way I originally wrote it: very simple, something that a vocalist could write lyrics to."

Dr. Billy Taylor's "Easy Walker" is taken at what McBride calls a "grown-folks tempo," what with a deep-in-the-pocket, no-rush flair and the luxuriant insouciance of swing. "My Favorite Things" is performed in 5/4, and is the most experimental number. "We let our imaginations run wild," he says. "It's a song that everybody knows so we wanted to do something different so folks won't tune out."

Tuning out is no option on other standards present. "Most of the standards that inspire me come from Frank Sinatra," admits McBride, regarding "East of the Sun, (and West of the Moon)." He adds Ella Fitzgerald, Nat King Cole and Carmen McCrae to the array of vocal lights he turned to when he "really started listening to singers. They understood the beauty of simplicity; they sing the story the way the writer intended. They don't put their own artistic expression before the story."

Sinatra's version of "I Have Dreamed" from The Rat Pack: Live at the Sands recording in 1963 was the longing spark for his heartfelt, bowed interpretation of a memorable song from The King and I. The closing number, "Who's Making Love," features McBride's tributes to Johnnie Taylor and, humorously, to Robert Wilson of The Gap Band. It's also the trio's nod to McBride's roots in soul and R&B. "My bone marrow is soul music. I never had to learn how to play soul music or R&B as I did for jazz and classical music."

McBride's talent and mark on the music scene transcend genre, so he's no longer under Ray Brown's shadow. And on this recording, his trio hits a jazz sweet spot. For listeners of Out Here, the result is music for the soul.

Upcoming Christian McBride Appearances:

Christian McBride + Inside Straight:
June 20 / The Int'l Festival of Arts & Ideas - Elm Street Stage / New Haven, CT
June 21 / Xerox Rochester Int'l Jazz Festival / Rochester, NY
Dec 27 / Teatro Duse via Cartolleria, 42 / Bologna, Italy
Dec 28, 2013 - Jan 1, 2014 / Umbria Jazz Winter  Teatro Mancinelli Corso Cavour, 122 / Orvieto, Italy

Christian McBride Big Band:
Aug 31 / Curacao North Sea Jazz Festival- Celia WTC / Netherlands Antilles
Nov 9 / 2nd Annual James Moody Democracy for Jazz Festival / Newark, NJ
Jan 7-12, 2014 / Village Vanguard / New York, NY
Janu 21 / University of Texas - Austin Bass Concert Hall / Austin, TX

Christian McBride Trio:
May 23 & 24 / 92nd Street Y - Kauffmann Concert Hall / New York, NY
May 30 / Venue 505 / Sydney, Australia
June 1 - 3 / Melbourne International Jazz Festival / Melbourne, Australia
Oct 22 - 27 / Dizzy's Club Coca-Cola / New York, NY
Oct 30 / Festival Miami at Frost School of Music / Coral Gables, FL
Jan 14-19, 2014 / Village Vanguard / New York, NY
Feb 19 - 22 / Jazz at the Bistro / St. Louis, MO
Feb 23 / Murray's / Columbia, MO
Mar 5 & 6 / Fort Lewis College - Community Concert Hall / Durango, CO
Mar 7 & 8 / Dazzle Restaurant & Lounge / Denver, CO

Special Appearances:
* Sept 6 / University of Maryland - Clarice Smith Performing Arts Center - Dekelboum Concert Hall / College Park, MD
Monterey Jazz Festival On Tour: 55th Anniversary - Various Dates / Various Venues / Various Cities
^ Chick Corea And The Vigil - Various Dates / Various Venues / Various Cities
*= Christian McBride's The Movement Revisited with Big Band and Choir.
^ = Indicates Christian McBride on select dates only.

Christian McBride Trio· Out Here will be release on Mack Avenue Records on August 6, 2013. McBriddes other recent release Christian McBride + Inside Straight: People Music, is out now.


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