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Posted: 15 Apr 2014 12:14 PM PDT
Catalan guitarist, composer and bandleader Oscar Peñas´ fourth album and second release in the United States, Music of Departures and Returns, includes a Brazilian choro and a tribute to flamenco master Paco de Lucia; a jazz standard and a classic from the Cuban Nueva Trova songbook; and music by the great Catalonian composer Frederic Mompou. Yet this is neither a music sampler nor a showcase of Peñas´ talents in different settings and styles.
"This is more or less who I am. I'm not trying to push boundaries, prove anything or show off in any way," explains Peñas. "It's a collection of pieces, some mine, some by other composers that I have always admired, that I felt had a common mood, a certain sound that reflects my personality and where I come from."
Music of Departures and Returns features his quartet, comprised of his long-standing rhythm section featuring six-string electric bassist Moto Fukushima, drummer Richie Barshay, and violinist Sara Caswell. The band is augmented by special guests such as bassist and singer Esperanza Spalding, reedman Paquito D'Rivera and pianist, producer and arranger Gil Goldstein who appears on accordion.
Born in Barcelona, Peñas began his career in music studying classical guitar as a child. He graduated with honors from Berklee College of Music and later earned a Masters Degree in Jazz Performance from New England Conservatory before settling Brooklyn. He arrived at his musical discoveries step by step.
"I started to explore jazz a bit out of boredom. As a teenager (and still is the case) it was more appealing to me to pick up my own melodies within a style and interact with other musicians than spend hours of solitude trying to perfect a technical dexterity and devote my youth to learn a repertoire by others. Discoveries and interests come sometimes erratically... listening to Pat Metheny's Letter from Home or Wayne Shorter's Native Dancer you end up coming across Toninho Horta, Gismonti or Milton [Nascimento] and their music opens doors to a sea of possibilities, that's how I learned about choro.
"I didn't study choro, but listened to a lot of them and love Pixinguinha and Guinga. If you ask a purist, maybe he won't approve of the form or the harmonies of 'Paquito's Choro,' but this is my unpretentious take on it." As for incorporating all these influences, "there was never a grand plan," he says. "I've been finding music and what I liked, I researched it and add it to my music. I was not born here and I did not grow up here. I like these different styles as much or more than bebop. Settling in NYC was a kind of wake-up call as I realized that in order to break through in the most vibrant scene on the planet I had to be honest and that meant digging into my own culture to find a personal voice."
Upcoming Oscar Peñas Tour Dates:
April 18 / BAMcafé / Brooklyn, NY
November 7 / Strathmore / Bethesda, MD
 
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Posted: 15 Apr 2014 12:08 PM PDT
Featuring Billy Harper (tenor sax), Craig Handy (alto sax), Eddie Henderson (trumpet), David Weiss (trumpet), George Cables (piano), Cecil McBee (bass), & Billy Hart (drums)
This exciting new all-star septet summons up an aggressive mid '60s spirit with a potent collection of expansive post-bop originals marked by all the requisite killer instincts and pyrotechnic playing expected of some of the heaviest hitters on the scene today. This Saturday and Sunday the band will take the stage at The Iridium for a not to be missed two-night engagement in anticipation of recording their new album for Motema Music, forthcoming this September, and to be supported by amajor international tour.
Billy Harper, Cecil McBee, George Cables, Eddie Henderson, and Billy Hart all came up in the heady era of the mid '60s. It was a period that found the dimensions of hard bop morphing from their original designs, and each of these guys helped facilitate the process as members of some of the most important bands of the era. Hart and Henderson were members of Herbie Hancock's groundbreaking Mwandishi group; Cecil McBee anchored Charles Lloyd's great '60s quartet alongside Keith Jarrett and Jack DeJohnette; Billy Harper was part of Lee Morgan's last group, as well as being a member of Max Roach's Quartet and Art Blakey and the Jazz Messengers; while George Cables held down the piano chair in numerous bands including groups led by Sonny Rollins, Joe Henderson, Freddie Hubbard, Dexter Gordon and Art Pepper.
David Weiss and Craig Handy, from a more recent generation and the youngest members of the band, are experts in this forthright lingo, having gained experience performing with Bobby Hutcherson, Freddie Hubbard, Charles Tolliver, Roy Haynes and Herbie Hancock. Each member of the Cookers has spent time leading his own series of groups as well, and each has a keenly individual sound. But it's the unmistakable power of teamwork that makes this music so commanding and resonates with a kind of depth and beauty that speaks of the seasoned track record of its principals (combined, the group has over 250 years of experience in the jazz world and has been a part of over 1,000 recordings). You can feel the collective weight of that experience in their CDs and especially in their live performances. Since this version of the band was solidified in 2007 the group has performed at venues around the world, including headlining the New Orleans Jazz Fest, Playboy Jazz Festival, Vancouver Jazz Festival, Umbria Jazz Festival, Northsea Jazz Festival, Chicago Jazz Festival, The Jerusalem Jazz Festival, The Guinness Cork Jazz Festival, The Charlie Parker Jazz Festival, The Burghausen Jazz Festival, Jazz Terrassa,The Healdsburg Jazz Festival, Jazz Viersen, Ronnie Scott's and Yoshi's.
"Talk about truth in advertising: The Cookers, an eye-popping septet, offers the promise of broiling intensity ... the blend of experience and youth, the rich orchestration possibilities offered by four horns, and especially the distinctive collection of personalities gives the band a unique complexion."
- Mark Stryker, Detroit Free Press
 
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Posted: 15 Apr 2014 11:56 AM PDT
While Jamie Saft has been a significant presence on previous RareNoise recordings by Slobber Pup, Plymouth and Metallic Taste of Blood, the renegade keyboardist and essential Downtown improviser steps into a dramatically different role on The New Standard. A collaborative trio outing featuring the dream rhythm tandem of drummer Bobby Previte and bassist Steve Swallow, both prolific composers and venerable bandleaders in their own right, it showcases Saft alternating between piano and organ and making thoughtful, melodic contributions throughout. On ten original tracks, seven of which the keyboardist composed, Saft blends brilliantly with his esteemed elders on this remarkable RareNoise release. "Bobby suggested that I put together simple structures for us to use as starting points," he explains. "I tried to put together pieces that were super soulful and honest. I wanted compositions that would highlight Steve's absolute mastery of melody and Bobby's incredibly soulful approach to groove. They took my simple pieces and made them into grand structures on which to improvise. Beginnings and endings were all improvised and this gives the album a special type of magic."
Though the three kindred spirits may not have played together before as a unit prior to this recording, their connections run deep and their chemistry in the studio was immediate. As Previte put it, "It was the simplest, chillest record I have ever done. We set up, went out and had a nice lunch, went back to the studio and three hours later it was all done in one take. It's kind of incredible it actually worked out as it did. And my 1965 Rogers Holiday model tubs, which I got when I was 14 years old, have never, and probably will never sound better. The sound is so full, so creamy I feel like licking it!"
Saft, who first met Previte in 1993 when he was hired to play in the drummer's band Weather Clear, Track Fast, calls The New Standard "100% collaborative." As he explains, "Steve and Bobby have been working together for decades and Bobby introduced us many many years ago, at first to discuss espresso, which is a shared passion of ours. Steve was also extremely generous with his knowledge of coffee and we struck up a fond correspondence. Bobby, of course, was secretly trying to put us together musically and finally a few summers ago, we all convened at my new studio near Kingston, New York (Potterville International Sound) for this session. So this album came from the purest of sources -- a genuine desire from old friends to make music together."
Master bassist Swallow, whose track record includes landmark jazz recordings with the likes of George Russell, Jimmy Giuffre, Gary Burton, Paul Bley, Art Farmer, Chico Hamilton, Stan Getz, Steve Kuhn, Carla Bley and John Scofield as well as several of his own recordings as a leader, had previously recorded and toured in Previte's Bump quintet beginning in 2003. 5 time Grammy winning engineer Joe Ferla, who is regarded as the fourth member of the band for this remarkably empathetic session, had been working with Previte for decades. "This recording was accomplished with Joe's incredible mastery at capturing mixes on the spot," says Saft. "Joe recorded everything analog direct to two-track 1/2" tape through a Neve console right here at Potterville International Sound as we played. Joe brought the same magic that Steve and Bobby contributed to this session. He's got absolute attention to detail, he's inside the music like a master, plus he has the wisdom to capture it on the spot direct to tape brilliantly. We're so lucky to have had him as part of this recording."
Adds Previte, who created his own intuitive drum feels throughout the session: "The music is highly improvised, more than you think. We did the entire record in three hours. Some tunes were completely improvised, some were brought in by Jamie but I think even he would agree they were sketches, really. He'd just tell Steve the harmonic rhythm, or we'd discuss it for a second, literally, and we were off! All first takes. And we never ever talked about how to start or how to end. The beginnings and endings are probably my favorite parts of this record because you can hear there was nothing planned in the least. We all dovetailed to the ends together. In fact, the endings are like little pieces in themselves. For instance if you listen to a Coltrane record, often you can tell they didn't have an ending, but there was no panic, no stress. They knew the tune would end itself and there was patience there. That's a quality in short supply today but on The New Standard you can hear that, especially with Steve. For instance, when I will take a left turn on one of those improvised endings, instead of interacting with me he stays at home within himself, and it's just magnificent. When you do that, when you don't cling too tightly to the other musicians, you bestow upon the other players so much freedom. As he said to me once, 'Interaction is overrated.' I couldn't agree more, except for the fact what he does IS interaction. It's just interaction on a much higher level than is usual in improvisation."
The New Standard opens with Saft's relaxed swinger "Clarissa," which is fueled by Swallow's unerring bass pulse and Previte's slick brushwork on the kit. This perfect introduction to the triumvirate leads into another Saft composition, "Minor Soul," which is rendered with all the patience and downhome quality of vintage Wynton Kelly or Junior Mance piano trios. "Step Lively" is a more buoyant rumba-boogie number paced by Previte and Swallow. Jamie's organ makes its first appearance on the gospel-tinged number "Clearing," which bears not a small resemblance to one of Jamie's significant influences, The Band. "About seven years ago I moved my crew to the Hudson Valley between the Shawangunk and Catskill Mountains. We live right in the seat of where so much essential music from the past 60 years was created -- Bob Dylan, The Band, Woodstock. Certainly these sounds were in my head as I constructed pieces for us to work with. I've been a huge fan and proponent of the music of both Dylan and the Band and certainly they were both heavy influences for this session. I also was looking to capture something placid and serene that reflects my love for country living and a more sustainable way of being."
"Trek" opens with Previte's drum 'n' bugle corps cadence on the kit, setting a compelling foundation for the piano trio piece that follows. The title track is a showcase for Swallow's signature melodic playing on the electric bass guitar while the uptempo swinger "I See No Leader" has Previte setting the pace with his insistent ride cymbal work. Says Saft of that composition, "The idea behind 'I See No Leader' is twofold. The obvious on being there is no real leader to this group. Though I have contributed most of the structures, when you have absolute masters like Steve and Bobby (and Joe for that matter), all it takes is a group of the simplest structures and suddenly there's magic on the tape. The title of this song also refers to the analog tape on which this album was recorded. As we progressed through the sessions I ran out of fresh reels of tape and we were forced to start rolling over old reels from my studio vaults -- a reel in which we 'saw no leader' referred to the leader tape used to mark beginnings and ends."
"Blue Shuffle" opens with some bluesy solo organ by Saft before the trio settles into an early '60s organ lounge vibe with Swallow walking on bass and Previte providing a supple backbeat for the dancers. "All Things to All People" is a throbbing race on the B-3 fueled by Previte's jungle drums and the closer, "Surrender the Chaise," is an intimate, slightly melancholy piano trio number that sounds like one of Chopin's nocturnes as played by Bill Evans. Swallow adds a solo on this closing number that is a sheer masterpiece of melody. Saft has high praise for the great bassist. "It was an absolute honor to work with a musician of Steve's caliber," he says. "It was like walking on air! Steve has the deepest intuition found so rarely these days. It was as if I could go ANYWHERE and Steve was standing there waiting for me with arms outstretched. A true master!"
"The New Standard is an honest and inspired picture of the first meeting of these four minds," adds the pianist-organist-composer. "It is wholly informed by decades of friendship, collaborations and camaraderie. The album's title refers to what I feel is a "New Standard of Excellence" in the improvising arena. I'm absolutely thrilled this album has found a proper home on such a fantastic label as RareNoise Records. The sonic integrity of the session will be realized with a fully analog vinyl master -- the 180-gram dual gatefold vinyl pressing of the album will never have seen ANY computer interference. We were also extremely fortunate to enlist Scott Hull and Alex DeTurk of Masterdisk for both the CD and vinyl masters. The vinyl master was done straight from the original analog master tapes from the session. The record was recorded and mixed direct to two track analog tape and Scott compiled the vinyl masters by editing the original master recordings together one side at a time. Alex DeTurk cut the vinyl lacquers for us under Scott's supervision on the vinyl lathe at Masterdisk direct from the compiled analog masters. The depth of the vinyl masters is, frankly, sonically stunning. It harks back to the golden age of jazz recordings of the '60's. It is absolutely at the highest level. I'm beyond proud of the sound of this one and truly believe that this album will really stand out from the pack, sonically."
TRACKS: Clarissa / Minor Soul / Step Lively / Clearing / Trek / The New Standard / I See No Leader / Blue Shuffle / All Things To All People / Surrender The Chaise
 
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Posted: 15 Apr 2014 11:51 AM PDT
The popular history of French music in the 60s often pits two opposing sides against each other: the polished 'varieté' of the yéyé stars like Françoise Hardy against the socially-engaged singer-songwriters like Léo Ferré, but the story is far more complex.
Alongside their better-known work, stars like Dalida, Dutronc and Sheila recorded music that happily sits next to more 'serious' – and often forgotten – socially engaged artists like Jehan Jonas and Michèle Arnaud. This compilation shines a light on the meeting point between these two seemingly disparate styles and the musicians behind them.
Digging deeper into the stories behind the music there is a unifying theme behind the different worlds: more often than not the players behind both styles were the same. Sometimes dismissed as journeymen that were operating at the outer reaches of their ability, the oft-ignored session musicians and arrangers held a wealth of knowledge and 'savoir-faire', not only in the lyrics and composition but also in the musical ability, recording, mixing and above all in the arrangements.
Even Serge Gainsbourg – perhaps the only artist of the time who managed to combine huge popular and critical success – collaborated with arrangers (and cult figures in French music) like Michel Colombier and Jean-Claude Vannier for his epoch-defining classics, and it is the work of these unsung figures that is celebrated here.
- CD digipak with 28 pages booklet w/liner notes in English/French
- LP with double page inner sleeve with full liner notes in English/French
Tracklisting:
01. Michèle Arnaud – La chanson de Tessa (1964)
02. Dalida – Je me repose (1968)
03. Sheila (Jean Claudric) – Long sera l'hiver (version playback orchestre) (1969)
04. Jane Birkin – Kawasaki (1973)
05. Christophe – The girl from Salina Part.3 (B.O.F. – La route de Salina) (1970)
06. Jacqueline Taïeb – Ce soir, je m'en vais (1967)
07. Michel Colombier – Canon (1969)
08. Ann Sorel – L'amour à plusieurs (1972)
09. Jacques Dutronc – Proverbes (1968)
10. Tonio Rubio – Bass In Action (1973)
11. Jehan Jonas – Nocturnes (1969)
12. Serge Gainsbourg – Je suis venu te dire que je m'en vais (version playback orchestre) (1973)
 
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Posted: 15 Apr 2014 11:46 AM PDT
One of the most exciting aspects of the current jazz scene is the resurgence of the jazz orchestra -- ensembles that make use of expanded size in order to explore bold instrumental sonorities, unexpected musical colors and arresting sonic textures while joyously mixing and matching musical genres. Critical buzz is all well and good in calling attention to these new big bands, but the solid proof of a vital musical renaissance must come in the form of compelling recorded works. Enter JC Sanford's Views >From the Inside (to be released May 20th on Whirlwind Recordings), an album bursting with ambition and invention that confirms that the promise of the new has actually come to fruition.
Composer, arranger, conductor and trombonist, Sanford employs the resources of fifteen outstanding players (including such celebrated contemporary stylists as trumpeter Taylor Haskins, vibraphonist Tom Beckham and percussionist Satoshi Takeishi) in an ensemble that draws on such unconventional jazz band instrumentation as French horn, accordion, tuba, English horn, oboe, bassoon, violin and cello. Utilizing the diversity of his orchestra, Sanford is able to create sparkling music that references the jazz tradition while also ingeniously incorporating classical, pop and world music sources. His mode of operation could be called selective expansion. "In order to get a wider variety of sound, I needed both more and less in the orchestra," Sanford says. "I may avoid having full horn sections as in a traditional big band, but I use musicians like Ben Kono, Chris Bacas, Dan Willis and Kenny Berger who play multiple instruments, thus giving the band a wide variety of colors."
Calling on creative capital gained from his studies with the legendary arrangers Bob Brookmeyer and Jim McNeely, Sanford makes pointed use of traditional swing conventions, yet just as frequently turns them on their head, tweaking these same conventions by employing daring compositional gambits that endow each performance with freshness and vision. "I'm always trying to turn that corner that isn't expected," Sanford says, "I was trained in the conventions of swing and big band arranging and I love that idiom, but I don't want to stay in that zone. I'm aiming to avoid the predictable, to find different colors and textures."
Yet for all its inventiveness, Views From the Inside is also an album stocked with notable melody and inviting performances. Sanford, inspired by such diverse influences as Richard Strauss, Charles Ives, Stevie Wonder and Billy Joel, makes certain that a sure sense of song and expressive drama is never lost amongst the intriguing tonal colors and surprising harmonic and rhythmic structures. "Views From the Inside," "Robins In Snow" (written as part of a new score for the 1925 silent film, Ben-Hur, and featuring the bandleader on trombone) "Brownieland" (spotlighting the accordionist Jacob Garchick), "Sunset Park, Sunset Park" and "Sky. Good. " are each marked by lyricism, shifting moods and a touch of mystery, while "Your Word Alone", "An Attempt At Serenity," "Verrazano Bikeride" and "2nd & 7th" brim with exceptionally cohesive ensemble work and forcefully expressive improvisations, while consistently maintaining strong melodic interest.
Five of the album's twelve tracks are "Brooklyn Vignettes," originally composed as a suite for the American Music Center, pieces that reflect the varied character of the New York borough in which Sanford composed the album and where he currently makes his home. Three compact pieces feature duets between Taylor Haskins and the innovative percussionist Satoshi Takeishi, whom Sanford credits with much of the album's distinctive flavor. "When I give improvisers space, it's their space," Sanford says, "But everyone has to ask the same questions: 'Why am I doing what I'm doing? Does the music demand my contribution?' In the end, you have to allow the music to tell you where to go."
Sanford studied at the University of Northern Iowa and the New England Conservatory where he earned a D.M.A. in Jazz Studies. After relocating to New York, he became involved with the BMI Jazz Composers Workshop under the direction of Manny Albam and Jim McNeely. Currently, in addition to leading his own orchestra, Sanford conducts the twice-Grammy-nominated John Hollenbeck Large Ensemble, the Alice Coltrane Orchestra featuring Ravi Coltrane and Jack DeJohnette, the Joel Harrison 19, and the Alan Ferber Nonet With Strings. Sanford also curates the influential Size Matters series at the Tea Lounge in Brooklyn, which has presented close to 60 big bands over the past four years. Among the jazz and classical artists who have performed Sanford's compositions and arrangements are John Abercrombie, Dave Liebman, Lew Soloff, Andrew Russo and the Swedish Wind Ensemble. Sanford collaborated with composer David Schumacher in the Schumacher/Sanford Sound Assembly jazz orchestra, and is also a founding member (with Darcy James Argue and Joseph Phillips) of the composer's federation, Pulse.
 
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Posted: 15 Apr 2014 11:44 AM PDT
VANESSA DA MATA – SEGUE O SOM
Really wonderful work from Vanessa Da Mata – a Brazilian singer who just seems to get better and better over the years! The set features sublime production from guitarist Liminha and bassist Kassin – the latter of whom always has this amazing way of folding things together, so that complicated elements come off with effortless ease – really making for a complexity in the music, but one that's quite subtle too. Vanessa's up front, letting her incredible voice really soar out over the top of the tunes – while Kassin and Liminha keep things very fresh from an instrumental perspective. Titles include "Segue O Som", "Homem Preto", "Por Onde Ando Tenho Voce", "My Grandmother Told Me", "Rebola Nega", "Um Sorriso Entre Nos Dois", and "Nao Sei Dizer Adeus". ~ Dusty Groove
MARTINHO DA VILA – ENREDO
Soulful samba from the great Martinho Da Vila – still every bit as joyous and lively as during his famous years of the 70s! The album's a rock-solid set from start to finish – and really lives up to Martinho's long musical legacy, which hasn't dimmed a bit – while also finding space for collaborations with guest stars who include Alcione, Beth Carvalho, Maria Freitas, Martinho Tonho, Mart'Nalia, and others. Titles include a host of Da Vila's classics, some worked into medley numbers – with tracks that include "Carlos Gomes", "Tamadare/Rui Barbosa", "Travalhadores Do Brasil", "Prece Ao Sol/Iemanja Desperta", "Raizes/Tribo Dos Carajas", and "Por Ti America/Pra Tudo Se Acabar Na Quarta Feira". ~ Dusty Groove
PIERRE DORGE & THE NEW JUNGLE ORCHESTRA – TJAK TJAKA TCHICAI
Pierre Dorge pays tribute to the late reedman John Tchicai – a frequent musical partner over the years, and a player who's shaped the sound of countless others on both sides of the Atlantic! Tchicai got his start with Archie Shepp on the New York scene of the 60s, but moved over to Denmark by the end of that decade – and ended up having a good deal of interaction with guitarist Pierre Dorge in years to come, including performances on some of the best sessions by the New Jungle Orchestra! This album really recalls those great ones – as Dorge chooses tunes that seem to have an especially spiritual flavor, and evoke Tchicai in ways that most of the group's recent work might not have – using especially strong passages from reed players who include Jakob Mygind on tenor and soprano, Anders Banke on tenor and bass clarinet, and Morten Carlson on tenor and taragot. Titles include "Mozombo", "A Rufous Mot Mot", "Jungle Sketches", "Autobahn Tchicai Zwei", "Lucianus In Congo", and "Tjak Tjaka Tchicai". ~ Dusty Groove
 
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Posted: 15 Apr 2014 11:41 AM PDT
MANU DIBANGO – AFRICADELIC
Incredibly funky work from Manu Dibango – a set that's easily as great as his classic Soul Makossa album – but which is a lot more obscure overall! The work's got a fiercely-jamming quality all the way through – lots of rumbling percussion at the bottom, and also a bit of keyboards as well – served up in a heady brew that turns out to be a perfect setting for Dibango's sharp-edged reeds! The record's got a few especially great break tracks, but all numbers are pretty darn great too – filled with more funky changes, flaring horns, and 70s-styled grooves than you might ever hope to find in a single album! Tracks include "Black Beauty", "Soul Fiesta", "The Panther", "Africadelic", "Moving Waves", "Afro Soul", "Wa Wa", "Percussion Storm", "Monkey Beat", and "Oriental Sunset". ~ Dusty Groove
MOUNTAIN MOCHA KILIMANJARO – ICHI NI SAN SHI GO ROKU
These guys are really on fire this time around – and turn in one of the most searing performances we've ever heard from a contemporary funky combo! Mountain Mocha Kilimanjaro hail from Japan, and have really earned our attention with their previous funky records – but this time around the really push it over the top, and seem to move with a grit and edge we never would have expected a few years before! Every element in the music is razor sharp, but also a bit offbeat too – so that the keyboards have this fuzzy tone, the guitar this shadowy quality, and the horns this hard-blasting ferocity that's way different than the usual use of the instruments – all qualities that are pushed even further by the album's fresh arrangements and really rich conception of sound. If you thought you'd heard it all from funk groups, you owe it to yourself to check this one out! ~ Dusty Groove
THE KUTI MANGOES – AFRO-FIRE
An Afro Funk combo, but one who really open up their groove, too – mixing in some great outside instrumentation that still stays close to the roots! The core combo is a sextet with a really firey brace of saxes in the lead – a pair of players, one of whom sometimes shifts to flute – mixed with tight drums, percussion, keyboards, guitar, and a bit of trombone – all with a style that really shows the best merger of deep funk sharpness with older Nigerian styles in recent years. Some cuts add in lots of extra percussion – plus balafon and ngoni as well – and titles include "Fire", "Feeling Good", "Pass It On", "Song For Fela", "Moanin", "Walking Man", "Slowly", and "Something Yellow". CD features bonus remixes of "Fire" and "Song For Fela". ~ Dusty Groove
 
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Posted: 15 Apr 2014 11:38 AM PDT
GILBERTO GIL – SAMBA
One of the best records we've heard from Gilberto Gil in many, many years – a stripped-down session that focuses on his voice and guitar work – in a style that takes us back to Gil's earliest days in music! The album feels like some lost session that Gilberto might have recorded in the 60s – before his Louvacao debut – done with mostly just a bit of light percussion from the enigmatic Domenico, plus some help from Moreno Veloso – who also co-produced the record as well, with that great sense of space he always brings to his own music too. A few cuts feature extra touches – a bit of accordion, or some flute from Danilo Caymmi – but the main focus is on Gil, who hasn't sounded this great in years – still able to capture our imagination when he works in a straightforward style like this. Titles include "Milagre", "Um Abraco No Joao", "Tim Tim Por Tim Tim", "Eu Sambo Mesmo", "Aos Pes Da Cruz", and "Desde Que O Samba E Samba". ~ Dusty Groove
EMILIO SANTIAGO – COMIGO E ASSIM / O CANTO CRESCENTE / GUERREIRO CORACAO
A trio of wonderful records from Emilio Santiago – all of which capture him at a key point in his career! Comigo E Assim is a classic batch of jazzy soul from Santiago – one of his best – with sweet 70s arrangements by the likes of Joao Donato, Sivuca, Roberto Menescal, and Antonio Adolfo, all of whom craft a slightly funky style that works wonders with Santiago's vocals. If you've ever bought one of his later, sleepier albums, this is the one to start with – as the record's a great batch of tracks that lives up to the notoriety he's had over the past few years with the international groove scene. Titles include "Nega", "Comigo E Assim", "E Hora", "Danca Mineira", "Preconceito", "Te Cuida, Rapaz", "No Balanco Do Trem", and "Quando Chegares". O Canto Crescente is a wonderful gem from Emilio Santiago – soaring and hip all the way through! After some of his earlier funkier work, this may well be the best full album ever cut by Santiago – thanks to some warm jazzy arrangements from the likes of Antonio Adolfo and Meirelles, both of whom really make the set sparkle with a warm electric piano groove! Emilio's vocals are great – soulful and sophisticated at once, perfectly fitting with the light jazzy changes of the tracks, giving them the right dose of honest emotion. Titles include "Rola Bola", "Recado", "Logo Agora", "Caridade", "Bufete E Cascudo", "Trocando Em Muidos", and "Quase Sempre". Guerreiro Coracao captures Emilio Santiago in a sweet live setting – one that really brings out the sharpest crackle in his music! Titles include "Diariamente", "Perdao", "Pela Metade", "Guerreiro Coracao", "De Repente", "Mistura", "Dama Da Noite", "Minhas Madrugadas", and "Anuncio Classificado". ~ Dusty Groove
CAETANO VELOSO – MULTISHOW AO VIVO ABRACAO
Caetano Veloso looks like a bit of an old geezer on the back cover of this live set – but damn if he isn't still one of the most exciting talents in the world, even alongside most of the contemporary generation too! The performance is a concert that's very much in the spirit of the studio album Abracao – and the two wonderful records that preceded it – music that's easily some of the most inventive, creative, and immediately appealing that Caetano Veloso has ever recorded – at a level that easily sums up all his past genius in a range of styles, but finds a way to fuse the whole thing down to a very focused core. The vocals alone are wonderful – that haunting style that Veloso really seemed to develop strongly after his years in London – and the instrumentation is often spare and simple, but with these great little twists and turns – especially on the rhythms and phrasing. And despite what must be a relatively large venue, Veloso preserves this sense of intimacy throughout – really reminding us of his undeniable pull, not just in Brazilian culture, but around the globe as well. Titles include "Homem", "Quando", "Um", "Lindeza", "Reconvexo", "Voce", "A", "Funk", "Alguem", and "Eclipse". ~ Dusty Groove
 
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Posted: 15 Apr 2014 11:35 AM PDT
BRIAN BLADE & THE FELLOWSHIP BAND – LANDMARKS
Brian Blade's Fellowship Band keeps on getting better and bolder over the years – really soaring out here under the leadership Blade's great drums – with a soulfully expressive feel that takes us back to his Blue Note albums from the last few years of the 20th century! Pianist Jon Cowherd has these solid lines that really set things up right away – matching the rhythmic impulses of Blade, but also really pushing forward with these waves of color embellished by Myron Walden on alto and bass clarinet, and Melvin Butler on soprano and tenor. Titles include "Down River", "Landmarks", "State Lines", "Friends Call Her Dot", "Bonnie Be Good", "Embers", and "Farewell Bluebird". (Includes bonus download of album!) ~ Dusty Groove.
THE GETUP – STRAIGHT FROM THE HOB
Massive drums really get things going right for The Getup – a funky combo who hit their groove running from the ground up! These guys load plenty of Hammond, trumpet, and tenor on the top of the tracks – but really seem to get even more energy going on the bottom – thanks to snapping drums that always hint at fresh breaks to come, and fast-riffing guitar that chugs along with the mighty basslines to propel the whole thing strongly forward right from the start! Sabina Challenger sings on a few cuts – but honestly, the main appeal of the record lies in the tremendous work of the rhythm section – on tracks that include "Sunday Roast", "Get Lucky", "What If", "Straight From The Hob", "Back To Me", and "Bungle's Twanger". Dusty Groove
Groove
MAGIC DRUM ORCHESTRA - MDO
Magic Drum Orchestra fuses a passion for Brazilian music, heavy drums and percussion with a love of modern dance beats. Their sound has influences from dubstep, drum & bass and hip hop fused with batucada, samba and afrobeat. With over 100 drummers and percussionists making their way through the studio to record these tracks, high quality, cutting edge production is a big part of the MDO sound, alongside the real human element that only live percussion and drums can bring – there is a truly free spirit feel to this music. This album compiles the two 'MDO Sessions' digital EPs into one finished product, featuring every track from the two EPs. With the World Cup taking place in Brazil in 2014, this release is perfectly timed to soundtrack it. As well as original material, the album features percussive cover versions of Snoop Dogg & Pharrell's "Drop It Like It's Hot", Benga's dubstep anthem "Crunked Up" and the Cream classic "Sunshine Of Your Love". Magic Drum Orchestra has an impressive history and pedigree, having been formed by Ralph Cree and Glyn Bush (aka BiggaBush) back in 2005. Whilst joining forces for Glyn's 'Lightning Head' project (Sonar Kollektiv), the duo decided to combine their passion and mastery in a carefully assembled samba band which became the extraordinary Magic Drum Orchestra ~ www.tru-thoughts.co.uk
 
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Posted: 15 Apr 2014 11:31 AM PDT
STANTON MOORE – CONVERSATIONS
One of the most solid records we've ever heard from drummer Stanton Moore – and a set that's got to be his greatest jazz session to date! Moore's still got all the playful kick he brought to his drums during more funk-based years – but he's working here in a trio with the wonderful pianist David Torkanowsky, who's awash in great tones and colors that we'd never expect from a Stanton Moore album – really long, fluid lines that sometimes follow in the tradition of Cedar Walton or Kenny Barron, other times have a more punctuated feel that works well with the drums, and the basslines of James Singleton. Titles include "Waltz For All Souls", "Magnolia Triangle", "Lauren Z", "Driftin", and "Big Greaze". ~ Dusty Groove
THE NEW MASTERSOUNDS – THERAPY
Some of the grooviest, funkiest work we've ever heard from New Mastersounds – and that's saying a lot, given how much we dig all their other records! We've been following these guys for over a decade, and they've never let us down – and they're one of the rare funky combos who really seem dedicated to making their sound even sharper, tighter, and more interesting at each new step – working here at a level that still holds onto all the spontaneous energy of their famous recordings, but which also trips things out at a really cool level too! The drums have this crackle we don't remember as strongly before – and Eddie Roberts' guitar and production ranges from unusual psych touches at some times to really well-fleshed jazz impulses at others – really balancing out the record with a tremendous sound overall. These guys have never faltered a bit, but they really knock it out of the park this time around – on titles that include "Monday Meters", "Old Man Noises", "Morning Fly", "Soul Sista", "Stop This Game", "Slow Down", "WWIII", and "Detox". ~ Dusty Groove
NICOLE MITCHELL'S BLACK EARTH ENSEMBLE – INTERGALACTIC BEINGS
Mindblowing sounds from Chicago flute player Nicole Mitchell – a set of work inspired by the science fiction writings of Octavia Butler – with a striking style to match! Although the music has some arch qualities that live up to the darkness of Butler's writings, the performance here is also still mostly acoustic – in the mode we're used to from Mitchell's Black Earth group – but with odd tones and weird bits of phrasing that keep have us checking the notes to figure out the different instruments! The approach is a bit like the early cosmic visions of Sun Ra – especially when Mitchell hits more spiritual and rhythmic moments – and the well-matched ensemble of players features Nicole on flute, David Boykin on tenor and bass clarinet, David Young on trumpet and srali thom, Renee Baker on violin, Tomeka Reid on cello, Josh Abrams on bass, Jeff Parker on guitar, and Avreeayl Ra on percussion. Mankwe Ndosi sings just a bit on the record – and titles include "Dripping Matter", "Web Of Hope", "Fields Of Possibility", "Resisting Entanglement", "The Inevitable", and "The Ooli Moves". ~ Dusty Groove
 
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