THE JAZZ CHILL CORNER Rare Studio One Records Compilation LP Money Maker Reissued Feat. Im and David, Ernest Ranglin, Jackie Mittoo, Lloyd Williams and more | Musique Non Stop


Wednesday, August 10, 2016

THE JAZZ CHILL CORNER Rare Studio One Records Compilation LP Money Maker Reissued Feat. Im and David, Ernest Ranglin, Jackie Mittoo, Lloyd Williams and more

THE JAZZ CHILL CORNER Rare Studio One Records Compilation LP Money Maker Reissued Feat. Im and David, Ernest Ranglin, Jackie Mittoo, Lloyd Williams and more


Posted: 09 Aug 2016 12:22 PM PDT
Money Maker, one of the rarest albums in legendary reggae label Studio One's catalog, has just been reissued in LP/CD and Digital formats.

Featuring a more overt soul and jazz sound for Studio One, the album is comprised of mostly instrumentals of early Studio One tracks made famous by groups like The Heptones, The Wailing Souls and John Holt. Money Maker features performances by Studio One house bands, The Sound Dimension, The Soul Brothers and The Soul Vendors joined by Im and David, guitarist Ernest Ranglin, Lloyd Williams, Jackie Mittoo and "The Boss" himself, Coxsone Dodd. The original 1970 release was pressed in limited quantities and remained out of print until 2002 when a limited edition including extra tracks was released. Remastered from the original session tapes, this reissue is presented with it's original track listing and iconic "cash" cover.

Last week, Studio One Director of A&R, Chris Wilson, spoke to The Takeaway about the legend of Studio One. Listen here:

Kicking off the reissue campaign on May 27th were The Wailers and their debut album The Wailing Wailers featuring Bob Marley, Peter Tosh and Bunny Livingston, reviewed in Pitchfork. Future releases include the never before released Studio One Radio Show featuring beloved host, Winston "The Whip" Williams, a Don Drummond collection and a "House of Joy" box set to celebrate the label's over 60 years of existence.

Founded by Clement "Coxsone" Dodd in the late 50's, Studio One was one of Jamaica's most renowned recording studios and record labels, helping to pioneer ska, rocksteady, dub and dancehall. The label discovered and released music from The Skatalites, The Wailers, Delroy Wilson, Jackie Mittoo, The Maytals, Jackie Opel, The Gaylads, Alton Ellis and more. Throughout the years, countless songs have been sampled and covered from the catalog including, "Pass the Dutchie" by Musical Youth, The Clash's cover of "Armagideon Time" and "Smile" by Lily Allen, just to name a few. For a full history on Studio One, click HERE and visit http://studioonerecords.com/

Money Maker Tracklisting
1. Money Maker - Im and David
2. Black Is Black - Im and David*
3. Soul Brother - Im and David*
4. Black Man's Train - Lloyd Williams*
5. Great Gu Gu Mu Ga (Great Gu Ga Mu Ga) - The Boss* (Coxsone Dodd)
6. Feel It - Jackie Mittoo
7. Mixing - Jackie Mittoo*
8. Candid Eye - Im and David
9. Stormy Night - Jackie Mittoo*
10. Soul Walk - Im and David

*Featuring Ernest Ranglin on guitar

Musicians: The Sound Dimension, The Soul Brothers and The Soul Vendors
Produced by Clement Dodd
Engineered by Sylvan Morris and Clement Dodd
Executive Producer: Carol Dodd
Reissue supervision by Chris Wilson for Studio One
Mastered by Toby Mountain at Northeastern Digital
Reissued via Yep Roc Music Group

Posted: 09 Aug 2016 12:12 PM PDT
Born and raised in South Korea, New Jersey, and now based in Los Angeles, singer, songwriter, and producer, Annalé's musical influences like her sound can be described as a perfect blend of Neo-Soul, R&B, and Pop! "I love music that I can feel and am pretty eclectic when it comes to the types of music that I love," shares the 21-year-old. "When I discovered artist like Lalah Hathaway, Erykah Badu, Floetry, India Arie, Norah Jones, Adele, Sadè, Jill Scott, Brian McKnight, Mint Condition, Musiq Soulchild and Lauryn Hill, I felt something almost visceral. Their music, melodies, move and inspire me."  

Barely able to reach the pedals, Annalé started playing her first instrument, the piano at the age of 4 under the guidance of her parents also musicians. Her father is an active orchestral conductor and composer in South Korea and her mother an organist. They discovered her vocal talent during middle school.  

With both classical training and an ear for melody and strong structure, she auditioned for Berklee College of Music and was selected as one of the seven Presidential Scholars receiving a 5-year tuition to the prestigious college.  "At Berklee, I majored in Contemporary Writing & Production and Vocal Performance and was constantly surrounded by amazing musicians from all over the world; it helped to sharpen my musical skills and performing with my band helps keep me fluid and improvisational."
With her forthcoming debut coming soon and the  single, "Roses" quietly rising on Billboard's Urban Adult Contemporary Charts, Annalè is positioning herself to musically and culturally reach global audiences.  While some may be amazed that this voice comes from an unlikely source, Annalè and those who follow her aren't quite surprised at all. "People who really love music don't care how it's packaged or presented, they want to know if you can sing, if you can move them. That's why I create music, not to follow the culture norms, but to reimagine them," says the soulful siren.  

Posted: 09 Aug 2016 11:56 AM PDT
Legacy Recordings, the catalog division of Sony Music Entertainment, and Octave Music Licensing LLC, curators of American jazz legend Erroll Garner's archival recordings, announce the release of Garner's Ready Take One on Friday, September 30. 

A new album of 14 previously unreleased studio performances by Erroll Garner and his backing musicians--drums (Jimmie Smith, Joe Cocuzzo), bass (Earnest McCarty, Jr., Ike Isaacs, George Duvivier, Larry Gales) and percussion (Jose Mangual)--Ready Take One is comprised of tracks recorded during seven extraordinarily productive sessions in 1967, 1969 and 1971. The New York Times just premiered "Wild Music," a new original track from the album, which can be heard here: http://smarturl.it/Erroll_WildMusic.

Ready Take One features six previously unreleased original Erroll Garner compositions--"High Wire," "Wild Music," "Back To You," "Chase Me," "Latin Digs," and "Down Wylie Avenue"--alongside Garner's swinging interpretations of a variety of jazz and pop standards including "I Want To Be Happy," "I'm Confessin' (That I Love You)," Bobby Hebb's "Sunny," Duke Ellington's "Caravan" and "Satin Doll," Cole Porter's "Night and Day," "Stella By Starlight" and a passionately rendered version of Garner's own "Misty," one of the most-often-covered jazz compositions of all-time and the most-requested number in Garner's repertoire, recorded for this album on May 28, 1969 in Paris, France.

Recorded during an especially prolific creative period running from 1967-1971, all 14 songs found on Ready Take One are previously unreleased and only recently restored after nearly 50 years on acetate.

Drawn from these sessions at Universal Recording in Chicago (November 28-29, 1967), Capital Studios in New York City (October 7, 1969) and RCA Studios in Manhattan (April 27, June 22 and December 2, 1971), Ready Take One finds Erroll Garner in the studio with his road-tested band and longtime manager Martha Glaser, firing off some of the most memorable performances of his career. For the first time, listeners are given a glimpse behind the studio doors, with rare insightful conversational tidbits between Garner and the group included between many of the songs. Glaser, known for her progressive guidance of Garner's artistic and commercial interests, is heard here in producer mode, slating takes and joking with Garner over the control room talk-back mic. As album producer Geri Allen writes, "a kind of fifth member of the band, Glaser would support Erroll Garner in the moment of the creative act." Indeed the title of the album comes directly from Glaser's steady refrain of "Ready Take One."

The first new Erroll Garner studio album to be released in nearly a quarter century, Ready Take One is the worthy successor to Legacy/Octave's first Garner release, 2015's critically-acclaimed Grammy-nominated The Complete Concert by The Sea, which debuted at #1 on the Billboard Jazz chart. Ready Take One is the first studio album from the extensive Octave Music catalog of previously unreleased Erroll Garner recordings and compositions.

One of the great American jazz pianists and composers of the 20th century (his classic "Misty" is an undisputed cornerstone jazz standard and the mainstay of many repertoires) Erroll Garner was among the most popular, successful and influential jazz artists of his era. (Reportedly Johnny Carson's favorite jazz musician, Garner appeared 27 times as a guest on "The Tonight Show" during Carson's reign as host in the 1960s and 1970s.)

Garner recorded the top-selling outdoor jazz concert album of all time, Concert By The Sea, in 1955; in 1957, became the first jazz soloist to win The Gran Prix du Disque in Paris, France; in 1959, was the first musician to play a solo jazz concert at Carnegie Hall, turning away more than 7000 people; and was given his own star on the Hollywood Walk of Fame (at 6363 Hollywood Boulevard).

Garner popularized jazz for millions all over the world with record breaking concert tours, and at the height of his career, was credited with developing the first completely original piano style since Art Tatum. With his completely distinctive, immediately recognizable and highly influential compositional and performance gifts, Erroll Garner was compared by critics to artists as diverse as Claude Debussy and Fats Waller.

Sadly, and somewhat inexplicably, since his death in 1977, Erroll Garner's artistry, enduring musical legacy and immeasurable contributions to the evolution of 20th century American jazz in the 20th century have been overlooked too often by contemporary audiences. With albums like Ready Take One, The Complete Concert By The Sea and future titles in the works, Legacy Recordings and Octave Music are reintroducing the music and genius of Erroll Garner to the world, bringing the abiding magic of his sounds to whole new generations of fans.

On June 15, 2015, the estate of Martha Glaser, Garner's longtime manager, announced the formation of the Erroll Garner Jazz Project, a major new archival and musical celebration of Garner. The project includes the donation of the Erroll Garner Archive--a huge trove of newly discovered historical material from Garner's life--to the University of Pittsburgh.

The album producers are:
Peter Lockhart, Senior Producer
Geri Allen, Producer
Steve Rosenthal, Producer
Susan Rosenberg, Executive Producer
Emma Munger, Assistant Producer

Erroll Garner
Ready Take One
Track list:
1. High Wire
2. I Want To Be Happy
3. I'm Confessin' (That I Love You)
4. Sunny
5. Wild Music
6. Caravan
7. Back To You
8. Night And Day
9. Chase Me
10. Satin Doll
11. Latin Digs
12. Stella By Starlight
13. Down Wylie Avenue
14. Misty

Posted: 09 Aug 2016 11:52 AM PDT
Experience Hendrix L.L.C. and Legacy Recordings, the catalog division of Sony Music Entertainment, are releasing Machine Gun: The Fillmore East First Show 12/31/69, fully documenting the debut performance of Jimi Hendrix's short-lived but eternally influential Band of Gypsys on September 30. The group played four historic concerts at the Fillmore East in New York City - two on New Year's Eve 1969, and two on New Year's Day 1970. Never before has the first of these sets been available in its entirety. The vast majority of the performances have never seen the light of day in any configuration.

Machine Gun: The Fillmore East First Show 12/31/69 was produced by Janie Hendrix, Eddie Kramer and John McDermott, the same team who have overseen all of Jimi Hendrix's audio and audio visual releases by Experience Hendrix L.L.C. since 1995. Kramer served Jimi Hendrix as his primary recording engineer throughout his lifetime and the newly mixed Machine Gun: The Fillmore East First Show 12/31/69 from the original 1" 8 track master tapes. The album was mastered by Grammy Award winner Bernie Grundman and will be simultaneously released, on CD, 2 LP 180 gram vinyl, high resolution SACD and digitally. Machine Gun: The Fillmore East First Show 12/31/69 is available for pre-order on CD: http://smarturl.it/jh_mg_cd and Vinyl: http://smarturl.it/jh_mg_vinyl

Machine Gun: The Fillmore East First Show 12/31/69 marks the first ever Jimi Hendrix SACD and high resolution digital release. Additionally, Experience Hendrix is also releasing People, Hell & Angels on the same day. People, Hell & Angels, a collection of previously unreleased studio recordings, peaked at #2 on Billboard's Top 200 Album chart in March 2013. The album features studio versions of many of the songs featured on Machine Gun: The Fillmore East First Show 12/31/69.

Over the course of four extraordinary years, Jimi Hendrix placed his indelible stamp upon popular music with breathtaking velocity. Measured alongside his triumphs at Monterey Pop and Woodstock, Hendrix's legendary Fillmore East concerts illustrated a critical turning point in a radiant career which boasted of indefinite possibilities.

The revolutionary impact Jimi Hendrix, Billy Cox, and Buddy Miles had upon the boundaries and definitions of rock, R&B, and funk can be traced to four concerts over the course of two evenings on New Year's Eve and New Year's Day. These performances were first celebrated by Band Of Gypsys, which featured six songs from the two January 1, 1970 concerts including "Machine Gun," the album's dramatic centerpiece. Issued in April 1970, Band Of Gypsys challenged and surprised the guitarist's wide following with its extended arrangements and vibrant mix of rock and soul. Nonetheless, the album proved to be a runaway commercial success and sadly, with his death in London in September 1970, would become the last album Jimi Hendrix personally authorized for release.

Machine Gun: The Fillmore East First Show 12/31/69 documents the first of the group's four legendary Fillmore East concerts. This set presents an assortment of fresh, exciting new songs such as "Earth Blues," "Ezy Ryder," "Stepping Stone," "Burning Desire," and "Machine Gun"--none of which had ever before been issued on disc. Moreover, nearly all of the group's material had never been performed before an audience. "We decided that we couldn't do any songs that had already been released," explains Billy Cox. "We wanted to give them something different. So we went at the project in a joyous, creative posture and ultimately developed the repertoire of the Band of Gypsys."

While promoter Bill Graham had advertised the concerts as 'Jimi Hendrix: A Band Of Gypsys', few could have anticipated what Hendrix had in store. "We had two shows New Years Eve and two shows New Years Day," remembered Cox. "We didn't know what to expect from the audience and the audience didn't know what to expect from us, but from the time we hit that first note, they were in awe. You had Jimi Hendrix, a drummer who had been with the Electric Flag and Wilson Pickett, and I was the new kid on the block."

With the anticipation of the sold out Fillmore audience heightened to fever pitch, Hendrix led his trio through a scintillating, seventy-five minute opening performance. None of the eleven songs presented had yet to grace an Experience album. In the place of signature songs like "Purple Haze" and "All Along The Watchtower" were confident renditions of "Power Of Soul" and "Hear My Train A Comin.'"

Jimi generously extended center stage to Buddy Miles, providing a showcase for "Changes" and a charged rendition of the Howard Tate R&B hit "Stop". "We had rehearsed "Changes" and a few others for Buddy," explains Cox. "All of the songs we performed had been rehearsed. We didn't look at it as Buddy's part of the show. We were all there to give. We were all there to help and material went on whether it was written by Jimi or not." Former Rolling Stone senior editor David Fricke, who authored this collection's liner notes, describes "Stop" as being something akin to "a psychedelic power-trio Temptations." Hendrix's scalding version of Elmore James' "Bleeding Heart" is the set's only other cover, underscoring the new band's emphasis on the blues.

As the Fillmore audience roared with approval, the Band Of Gypsys left the stage confident that they had validated Jimi's new music before his loyal followers. "After the gigs were finished, Jimi was quite relieved," remembers Cox. "We felt the concerts went well. I might add that in previous gigs with the Experience he had used a fuzz face [tone control pedal] and a Wah-Wah pedal, then at Woodstock he used a fuzz face, Wah-Wah pedal and Uni-Vibe, but at the Fillmore East he used a fuzz face, Wah-Wah pedal, Uni-Vibe and Octavia and it was incredible. In fact you could hear all of it kicking in on 'Machine Gun.' It was incredible. There were people in the audience with their mouths open."

"Machine Gun" stands as one of Hendrix's finest and most influential compositions. Hendrix pushed Delta blues into places its pioneers could not have imagined, fusing his extraordinary instrumental skills within his passionate expression of man's inhumanity to his fellow man. "Machine Gun" endures as a classic amongst the already classic-drenched Jimi Hendrix canon. Fricke notes of this version, the first that Hendrix and company had ever played in concert, "..Here it is, after 46 years, another revelation - a stunning essay in pain, rage and determined survival, fully formed in its initial outing."

Long sought after by the guitarist's worldwide following, Machine Gun: The Fillmore East First Show 12/31/69 presents the complete performance in its original sequence.

Jimi Hendrix - Machine Gun: The Fillmore East First Show 12/31/69 (release date: September 30)

1) Power Of Soul
2) Lover Man
3) Hear My Train A Comin'
4) Changes
5) Izabella
6) Machine Gun
7) Stop
8) Ezy Ryder
9) Bleeding Heart
10) Earth Blues
11) Burning Desire

Posted: 09 Aug 2016 11:49 AM PDT
Miguel Zenón's new album, Típico, is above all a celebration of his longstanding quartet. His past several releases have generally fleshed out that core unit with additional instrumentalists as Zenón has looked outward to explore various aspects of his Puerto Rican heritage. This new album feels more intimate. Its focus stays closer to home, with nods to Zenón's own personal and professional life as it zeroes in on what makes his band unique.

"I was thinking about what this band and the guys in the band mean to me as I was writing the music," he explains. "I kept going back to this idea of us developing this common language that identifies us as a band."

That language has been developing for more than a decade. Pianist Luis Perdomo and bassist Hans Glawischnig have been with Zenón since the turn of the millennium; Henry Cole joined the band in 2005. Their language is thoroughly fluent modern jazz, with all the instrumental prowess and rhythmic and harmonic complexity that that implies. But the dialect they've created together through the years is distinctive.

"'Típico' refers to something that's customary to a region or a group of people," Zenón says. "Or something that can be related to a specific group of people. And when I was writing the music, I was thinking about music that identified us and this band."

Each of the album's final three tracks, Zenón notes, was composed around a solo or signature rhythmic line that one of the band members had played before. "My approach was more systematic on those three compositions specifically. But the whole record essentially is about representing the sound of the band. The sound of our band."

The album opens with "Academia," a tune inspired by Zenón's teaching at New England Conservatory, where he serves as part of the jazz faculty. "One of the great things about teaching at NEC is that I get the opportunity to create a personalized curriculum for each of my private students, depending on their needs and on what I feel they should be working on. So I find myself having to come up with new exercises constantly, in order to keep our interactions interesting and challenging. This composition is built around various harmonic and rhythmic exercises that I developed with some of my more recent students at the school."

The second track, "Cantor," honors Zenón's friend and frequent collaborator Guillermo Klein. "Gullermo's music has a very personal voice, something very unique. With this piece I was trying to convey some of what I feel are his most interesting qualities as a composer, like the lyrical character of his melodies and the very nuanced harmonic movement of his pieces. He also has very particular way of organizing the 3/4 bar, which he breaks down into three bars of 7/8 and one bar of 3/8. The piece touches on this a bit towards the end, sort of as a way of tipping my hat to a great friend and musician."

The third and fourth tracks both stem from Zenón pondering what gives a particular song a folkloric feel. "Ciclo" emphasizes melody and rhythm, Zenón taking "a melody that is meant to sound very folkloric - a bit simpler harmonically and delineating a very specific beat" and building a complex extended cycle around it using smaller, interlocking rhythmic cells.

"Típico" approaches its folkloric aims harmonically. "There's a harmonic cadence that is very common in Latin American music, especially music in the Caribbean. Something that revolves around a minor key and then slides down, going 'Subdominant Minor - Tonic Minor - Dominant - Tonic Minor.' A very simple cadence, but one that is very unique and effective. It's always caught my ear because I'm always on the lookout for things that serve as sort of musical connecting threads, things that makes me feel that the music from all these different countries and cultural expressions is somehow connected and coming out of the same combination of elements. I built this specific composition around this cadence, and called it "Típico" in reference to this Pan-American idea."

"Sangre Di Me Sangre" is a tune the quartet has been playing for a while now, a balladic tribute to Zenón's 4-year-old daughter, Elena, written before her first birthday. "I was sitting in this park with her," he recalls. "She was playing around and I sat down and sketched out the song on my notepad." Zenón wrote the piece first with lyrics, then orchestrated it for the quartet, featuring Glawischnig's bass both on a sprightly introductory melody played in unison with Perdomo and on a solo meant to convey a singing quality.

Glawischnig is also featured on "Corteza," its melody derived from Zenón's transcription of his bass solo opening the track "Calle Calma" on the 2009 Zenón album Esta Plena. It, too, has a balladic feel, with lyrical solos from Zenón and Perdomo leading to a closing uptempo restatement of the theme.

The Perdomo feature "Entre Las Raíces" ("Amongst the Roots") is more fiery, emphasizing two key facets of the pianist's musical personality. The intricate melody he and Zenón whip through together was transcribed from a Perdomo solo on "Street View: Biker," the opening track on Perdomo's album Awareness. But this arrangement opens with Perdomo playing wild and free, and Zenón's alto solo when it comes reveals a free side of his own, veering more toward Ornette Coleman or Albert Ayler.

"The piece is very free in terms of the way we deal with the improvised segments," says Zenón. "Luis always talks about listening to Bud Powell and Cecil Taylor at the same time when he was growing up in Caracas, and always having a foot in this freer, avant-gardish world of jazz. And when you hear him play on that track, it sounds that way. For that piece specifically, he really sounds like he's 100 percent in his element."

Cole's playing is suitably free on "Entre Las Raíces" as well, but his featured track, "Las Ramas" ("The Branches," Cole's own debut album having been titled "Roots Before Branches"), required more discipline. "I wrote the piece around this figure that he has been developing over the last few years and plays all the time," says Zenón. "The piece is very difficult to play - sort of like an etude for the drums, pretty much. And I know he worked very hard on it. Even though the original idea came from him, he worked very hard on making it precise and making it clean, and really sounded amazing on this track."

It's no accident that the final three songs are named for parts of a tree. "I was thinking of the band as a tree," Zenón acknowledges. "And thinking of myself as the watcher. I mean, I'm part of it also. But mostly I'm observing these amazing musicians night after night, and how together they kind of make up this living organism."

Zenón is onto something with that metaphor. The spotlight cast by Típico illuminates how alive his quartet's music has always been, while never ceasing to evolve and grow.

A multiple Grammy® nominee and Guggenheim and MacArthur Fellow, Zenón is one of a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered one of the most groundbreaking and influential saxophonists of his generation, Zenón has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz. Born and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide variety of musicians including Charlie Haden, Fred Hersch, Kenny Werner, Bobby Hutcherson and Steve Coleman and is a founding member of the SFJAZZ Collective.

He'll also be touring widely to support the release.  2017 Tour dates currently booked include:

* February 10 - Villa Victoria Center for the Arts - Boston, MA
* February 11 - Annenberg Center Live,  Philadelphia, PA
* February 14 - 19 - Village Vanguard, New York, NY
* February 22 - The Loft at UCSD - San Diego, CA
* February 23 - Kuumbwa Jazz Center - Santa Cruz, CA
* February 24 - 26 - SFJazz Center, Joe Henderson Lab - San Francisco, CA
* March 1 - Earshot Jazz - Seattle, WA
* March 2 & 3 - Dazzle Jazz, Denver, CO
* March 5 - Bach Dancing & Dynamite Society,  Half Moon Bay, CA
* March 7 - Appalachian State University, Boone, NC
* March 8: - Jazz Kitchen,  Indianapolis, IN
* March 9 - 12 - Jazz Showcase, Chicago, IL

Posted: 09 Aug 2016 11:39 AM PDT

The first properly put-together album by Frank McComb in years – and a wonderful summation of all the fantastic energy he's put into some of his more homegrown records of the past decade or so! Frank's always been one of our favorite soul talents of the 21st Century – and here, with top-level production and presentation, he's instantly elevated to territory of giants like Stevie Wonder or Donny Hathaway – both artists that Frank seems to draw on with his amazing vocals and keyboard work – but always in ways that are never slavish, as McComb draws the right core inspiration, then soars off on his own! Frank's been an under-discovered soul artist for many years – after getting a shot with Sony in the 90s – but that under-exposure is just one more part of his power – as the man's doing so much, with so little help from the industry – and making music that will make him one of the all-time soul music greats. Maysa, Deborah Bond, and Avery Sunshine all sing on the record – but Frank's the main attraction, and holds our attention beautifully – on titles that include "Mustard Seed", "This Love Of Ours", "She Needs True Love Too", "There Are No Words", "Labeled As Love", "Feelin Some Kinda Way", "Muse", "Another Love Story", and "Superstition".  ~ Dusty Groove


With his career on a steady rise, Ben Wendel steps into the spotlight with his Motema debut. GRAMMY-nominated saxophonist and co-leader of the breakout band, Kneebody, Ben Wendel has enjoyed a varied career as a performer, composer and producer. His YouTube video series, The Seasons, was named one of the New York Times Best Albums of 2015. What We Bring touches on the inspiration that musicians absorb throughout their lives, with each piece dedicated to a key influence on Wendel.


Hideo Yamaki - Japan's most renown, respected and in demand drummer. Veteran of countless recording projects with the most celebrated pop / rock artists in the country and collaborations with Japanese icons, such as Ryuichi Sakamoto, Toshinori Kondo, DJ Krush, Akira Sakata and many others. Heard here in duet with legendary bassist / producer, Bill Laswell. A bass and drum dialog that explodes with fluid, spontaneous blasts of telepathy. Industrial, noise, dub, melodic, chaotic, all detonated by a sonic / rhythmic construct. An ever expanding diverse and dynamic matrix. Track: Ankoku Kaiju (36:14); Recorded live at The Stone (NYC) on April 16, 2016. Edited & mixed @ Orange Music, West Orange, NJ. Engineering: James Dellatacoma.


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