Anne Carlini - Exclusive Magazine

Spinifex - Embrace the Contradictions [Official Music Video]

www.towerofpower.com

Title - Undrilling The Hole
Artist - Spinifex

For those unaware, American novelist F. Scott Fitzgerald once wrote, “The test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function.”

A more playful, experimental version of that quote could serve as the mission statement for the adventurous Amsterdam-based sextet Spinifex. The band’s music is a full-throttle embrace of the visceral and cerebral, a spirited blend of free improv abandon, avant-jazz complexity, punk rock aggression and compulsively infectious grooves.

As artistic director and alto saxophonist Tobias Klein explains it, “We want to engage people intellectually with our music, but at the same time we want to overwhelm people in a way that works well with audiences in a sweaty nightclub atmosphere.”

Nine albums and almost 20 years into their existence, Spinifex has proved remarkably agile at splitting that difference, despite those who insist that Klein’s divergent goals amount to cognitive dissonance.

The title of the band’s latest album, Undrilling the Hole, is a declaration of its paradoxical success, echoed by most of the song titles contained within: “Embrace the Contradictions,” “Explode the Paradox,” “Admire the Ambiguities.”

Unlike prior Spinifex releases, which shared credits between the band’s several gifted composers, Undrilling the Hole was entirely written by Klein. The focused set openly declares its insistence on audaciously threading that challenging needle – even if Klein himself is hard pressed to explain why exactly it works so well.

1. Embrace the Contradictions
2. Undrilling the Hole
3. Tatiana
4. Explode the Paradox
5. Admire the Ambiguities
6. Boiling Up Beautifully
7. The Big Brother

With a sound like a combination of free improv, punkrock and other typically Western contemporary music the one minute, and yet beneath the surface you can also discover ancient cyclical rhythms from Turkish and Indian musical cultures and more, the new recording opens on the vitally propellent Embrace the Contradictions and the jaggedly organic title cut Undrilling the Hole, and then we get brought forth the funky grooves within Tatiana and the craftly cultured Explode the Paradox.

Along next is the free flowing, all-embracing musical majesties of Admire the Ambiguities which is in turn followed seamlessly by the playfully melodic Boiling Up Beautifully, this incredibly impassioned album coming to a close on the soulfully distinctive funk of The Big Brother.

“I try to exploit our diversity every time I write for the band,” Klein explains. “I always want there to be elements of very different types of music, combined into something organic that you can no longer take apart into its individual components. It becomes one.”

Musicians:
Tobias Klein – alto saxophone, artistic direction
Bart Maris – trumpet
John Dikeman – tenor saxophone
Jasper Stadhouders – guitar
Gonçalo Almeida – bass
Philipp Moser – drums

www.longsongrecords.bandcamp.com

www.spinifexmusic.nl

Title - Eyes On The Horizon
Artist - Joe Fonda Quartet

For those unaware, Joe Fonda is one of the more indispensable and admired bassists working in creative music these days; he has an impeccable and impressive resume. Not many likely knew that his mentor is the esteemed master, Wadada Leo Smith.

They recorded only once together and that was close to 40 years ago, so time was right for a musical reunion. “Eyes On The Horizon” finds Fonda, trumpeter Smith, pianist Satoko Fujii and drummer Tiziano Tononi (the latter two also have strong ties to Fonda) playing brilliantly on what is definitely one of the finest albums of the year.

But wait, there are more like that: the first-time meetings of eminent Danish musicians – “Sound Flower” by saxophonist Jesper Zeuthen, percussionist Marilyn Mazur & bassist Anders Christiansen, or “Pulsar“ by bassist William Parker with two Rotterdam musicians – saxophonist Hugo Costa & drummer Philipp Ernsting, or two trios built around Portuguese saxophonist Jose Lencastre.

Fellow saxophonist from Portugal, Rodrigo Amado assembled his trio The Attic for “La Grande Crue” and added French pianist Eve Risser to change things up, while the Nano Brothers from Germany find their new “Ascend Flowers” nominated for the German Jazz Critics Award. There’s much more exciting music in this episode, so don’t pass it up!

1. Inspiration Opus #1 (for Wadada Leo Smith)
2. My Song Opus #2
3. We Need Members Opus #4 (for Wadada Leo Smith)
4. Like No Other (for Bobby Naughton)
5. Listen to Dr. Cornel West
6. Bright Light Opus #5 (for Wadada Leo Smith)
7. Eyes On The Horizon Opus #3 (for Wadada Leo Smith)

This impeccably sculpted, majestically impassioned new recording opens on the organically sculpted Inspiration Opus #1 (for Wadada Leo Smith) and the we get brought forth the decadently-hued My Song Opus #2 and the more statically jaunty We Need Members Opus #4 (again for Wadada Leo Smith).

Along next is the low slung, late night, smokey jazz club appeal of Like No Other (for Bobby Naughton) which is in turn followed by the resplendently opulent Listen to Dr. Cornel West, the album rounding out on the slightly sterner fare of Bright Light Opus #5, closing on the all-embracing title track Eyes On The Horizon Opus #3 (both for Wadada Leo Smith).

www.joefonda.com

Title - Bach the 6 Partitas
Artist - Francesco Tristano

For those unaware, Francesco Tristano was thrilled to sign a new licensing deal for his newly minted record label intothefuture, with Näive Records – a division of Believe International.

The label was created for the purpose of publishing Tristano’s own recordings and started last year with the regional exclusive release of Bach’s English & French Suites.

The new global partnership with Näive commences with the release of “Sarabande” on September 27th. This is the 1st single from the forthcoming full album – Bach the 6 Partitas, which will be released on November 8th, 2024.

While at Juilliard, Francesco laid the groundwork of his ambitions as an interpreter of Bach’s music: he played and recorded the Piano Concertos with his ensemble The New Bach Players, as well as recording the Goldberg Variations (found on the small Accord label) on his own.

Shortly after, he was signed by the French label Infiné, where he released his first records blending electronica and piano: Not for Piano (2007), where he created versions of techno anthems like Jeff Mills’ The Bells or Derrick May’s Strings of Life on the piano; Auricle Bio On (2008), where the piano is conceived as a sampler; and Idiosynkrasia (2010), in which he seamlessly joined his virtuosity on the keys and his programming prowess, refining his concept of “Piano 2.0,” where the instrument reaches a new textural iteration through the use of computers.

Tristano’s big leap took place in 2011, when he was signed by Deutsche Grammophon, with whom he recorded three programmes inspired by his ascent as a concert pianist of international acclaim.

In 2017, Francesco Tristano began his collaboration with Sony Classical, focusing his efforts on releasing his own work in a new phase as a recording artist.

And still, at the edge of the horizon, Francesco Tristano’s great life project, the one he will never abandon, continues to take shape: to record Johann Sebastian’s Bach complete repertoire. As Berg said, “music is music”, and Bach will always be there because he was the only creator ever to transcend it.

Johann Sebastian Bach, Partita No. 1 in B-Flat Major, BWV 825
I. Praeludium
II. Allemande
III. Corrente
IV. Sarabande
V. Menuett I
VI. Menuett II
VII. Giga

Johann Sebastian Bach, Partita No. 2 in C Minor, BWV 826
I. Sinfonia
II. Allemande
III. Courante
IV. Sarabande
V. Rondeaux
VI. Capriccio

Johann Sebastian Bach, Partita No. 3 in A Minor, BWV 827
I. Fantasia
II. Allemande
III. Corrente
IV. Sarabande
V. Burlesca
VI. Scherzo
VII. Gigue

Johann Sebastian Bach, Partita No. 4 in D Major, BWV 828
I. Ouverture
II. Allemande
III. Courante
IV. Aria
V. Sarabande
VI. Menuett
VII. Gigue

Johann Sebastian Bach, Partita No. 5 in G Major, BWV 829
I. Preambulum
II. Allemande
III. Corrente
IV. Sarabande
V. Tempo di Minuetto
VI. Passepied
VII. Gigue

Johann Sebastian Bach, Partita No. 6 in E Minor, BWV 830
I. Toccata
II. Allemanda
III. Corrente
IV. Air
V. Sarabande
VI. Tempo di Gavotta
VII. Gigue

This magnificently-hued, and delightfully absorbent new recording opens on Johann Sebastian Bach’s Partita No. 1 in B-Flat Major, BWV 825, and first the opulent Praeludium, the confident Allemande, and the vibrant Corrente, then we get the ornately-hued Sarabande, the playful Menuett I, the cultured Menuett II, closing on the gently frenetic Giga.

Up next is Bach’s Partita No. 2 in C Minor, BWV 826, which begins with the delicate Sinfonia and the flourishing Allemande and then brings us the gorgeous Courante, the majestic Sarabande, and both a perky Rondeaux and, in closing, a prosperous Capriccio.

Then we get brought forth Bach’s Partita No. 3 in A Minor, BWV 827, which itself opens on the resplendent Fantasia before moving to the sweeping Allemande, the playful Corrente, the regimented Sarabande, the sterner fare of Burlesca, closing on both the fiery Scherzo and the poignant Gigue.

Along next is Bach’s Partita No. 4 in D Major, BWV 828, which leads with the decadence of Ouverture and the alluring Allemande, before we get the triumphant Courante, the bright Aria, a simply magical Sarabande, the feisty Menuett, closing on the lively Gigue.

Up next is Bach’s Partita No. 5 in G Major, BWV 829, which opens on the bubbly fare of Preambulum and the free flowing Allemande and then brings us the sparkling Corrente, the thoughtful Sarabande, the animated Tempo di Minuetto, closing on both the elegant Passepied and the cheerful Gigue.

Then comes Bach’s Partita No. 6 in E Minor, BWV 830, which opens on the decidedly opulent Toccata and the glittering Allemanda, and is in turn backed seamlessly by the spirited Corrente, a scintillating Air, the polished beauty of Sarabande, the stately Tempo di Gavotta, the lavishness displayed within Gigue bringing the collection to a divine conclusion.

www.francescotristano.com

www.Avie-Records.com

Title - Golden Dreams: Scriabin & Chopin - Preludes
Artist - Fanny Azzuro

For those unaware, this brand new album Golden Dreams: Scriabin & Chopin - Preludes by Fanny Azzuro, a narrator who invites the listener on a journey with multiple resonances, was conceived as a mirror image of two compositions that are so similar yet so different.

The poetic title refers to a quote by Liszt, in which he describes Chopin’s Preludes as golden dreams, and which Fanny translated into English as Golden Dreams.

On Golden Dreams, Fanny immerses herself once again in the magical world of the Preludes, in the golden dreams of Chopin and Scriabin. Chopin, the sensitive Polish Romantic poet; Scriabin, the modern Russian mystic who, following in Chopin’s footsteps, composed his 24 Preludes, a youthful work with a bold new language, but with explicit references to Chopin’s work.

Two pianists, composers and poets in their own way, two different natures and two men so close to Rachmaninoff’s heart, a reminder of her last recording program. Indeed, the conception of this album echoes the previous one, The Landscapes of the Soul, 24 Preludes by Rachmaninoff, here with a mirror between the two works: Chopin facing Scriabin. Her love of Russian music having never left her.

Inspired by her mentor Boris Petrushansky, who recorded a little-played version of Scriabin’s 24 Preludes, Fanny remains fascinated by these mysterious, nostalgic worlds. At once tender reveries and surreal songs, in which we perceive an unconventional interplay of rhythms between affection and mystery, the fluidity of water and dramatic evocations, these short pieces are a truly colorful journey.

A palette to unfold, wide-ranging different colors, golden touches, preludes that follow the same writing logic as Chopin’s: major key, relative minor key, then ascending in cycles of fifths. Chopin’s Preludes, so well known, so eloquent, so lyrical, so gentle and exalted, with this finesse of composition and this simple, pure romanticism, are above all lace.

Is it any different from Rachmaninoff? Yes and no. Is Fanny simply a great romantic? Maybe she is, but Chopin’s Preludes are compositions in a class of their own. They are not just, as the title might suggest, pieces intended to be played as introductions to other pieces; they are poetic preludes, analogous to those of a great contemporary poet, which lull the soul into golden dreams and lift it to ideal regions.

Admirable in their diversity, the work and knowledge they contain can only be appreciated on close examination. Everything in them seems to have been created at the outset, in a rush, a sudden arrival. They have the free and grand allure that characterizes works of genius. Liszt, on Chopin’s Preludes.

Moreover, in Scriabin’s work, the word golden may refer to the golden ratio. Indeed, behind the simple formal schemes of his works lurks a whole secret subterranean world of numerical proportions, golden sections and Fibonacian series quite analogous to the invisible geometry of Renaissance painters.

alexandre scriabin 1872-1915
1-24 24 préludes, op. 11
1. No. 1 in C Major, Vivace
2. No. 2 in A Minor, Allegretto
3. No. 3 in G Major, Vivo
4. No. 4 in E Minor, Lento
5. No. 5 in D Major, Andante cantabile
6. No. 6 in B Minor, Allegro
7. No. 7 in A Major, Allegro assai
8. No. 8 in F-Sharp Minor, Allegro agitato
9. No. 9 in E Major, Andantino
10. No. 10 in C-Sharp Minor, Andante
11. No. 11 in B Major, Allegro assai
12. No. 12 in G-Sharp Minor, Andante
13. No. 13 in G-Flat Major, Lento
14. No. 14 in E-Flat Minor, Presto
15. No. 15 in D-Flat Major, Lento
16. No. 16 in B-Flat Minor, Misterioso
17. No. 17 in A-Flat Major, Allegretto18. No. 18 in F Minor, Allegro agitato
19. No. 19 in E-Flat Major, Affettuoso
20. No. 20 in C Minor, Appassionato
21. No. 21 in B-Flat Major, Andante
22. No. 22 in G Minor, Lento
23. No. 23 in F Major, Vivo
24. No. 24 in D Minor, Presto

frédéric chopin 1810-1849
25-48 24 préludes, op.28
1. No. 1 in C Major, Agitato
2. No. 2 in A Minor, Lento
3. No. 3 in G Major, Vivace
4. No. 4 in E Minor, Largo
5. No. 5 in D Major, Allegro molto
6. No. 6 in B Minor, Lento assai
7. No. 7 in A Major, Andantino
8. No. 8 in F-Sharp Minor, Molto agitato
9. No. 9 in E Major, Largo
10. No. 10 in C-Sharp Minor, Allegro molto
11. No. 11 in B Major, Vivace
12. No. 12 in G-Sharp Minor, Presto
13. No. 13 in F-Sharp Major, Lento
14. No. 14 in E-Flat Minor, Allegro
15. No. 15 in D-Flat Major, Sostenuto
16. No. 16 in B-Flat Minor, Presto con fuoco
17. No. 17 in A-Flat Major, Allegretto
18. No. 18 in F Minor, Allegro molto
19. No. 19 in E-Flat Major, Vivace
20. No. 20 in C Minor, Largo
21. No. 21 in B-Flat Major, Cantabile
22. No. 22 in G Minor, Molto agitato
23. No. 23 in F Major, Moderato
24. No. 24 in D Minor, Allegro appassionato

This dutifully-imbibed, and creatively-hued new recording opens on Alexandre Scriabin’s Preludes (24), Op. 11 and the sweeping No. 1 in C Major, Vivace, the delicately-hued No. 2 in A Minor, Allegretto, the flourishing No. 3 in G Major, Vivo and the lamenting No. 4 in E Minor, Lento, and then we get the lavish No. 5 in D Major, Andante cantabile, the sparkling No. 6 in B Minor, Allegro, the plentiful majesties within No. 7 in A Major, Allegro assai, the decadent No. 8 in F-Sharp Minor, Allegro agitato, and then the splendid No. 9 in E Major, Andantino, the elegantly crafted No. 10 in C-Sharp Minor, Andante, the free flowing No. 11 in B Major, Allegro assai and the inviting No. 12 in G-Sharp Minor, Andante are brought forth.

Up next is the sheer decadence of No. 13 in G-Flat Major, Lento, the strident flare of No. 14 in E-Flat Minor, Presto, the delicate No. 15 in D-Flat Major, Lento, and the dutifully woven No. 16 in B-Flat Minor, Misterioso, and they are in turn backed by the plushly demure No. 17 in A-Flat Major, Allegretto, the free flowing No. 18 in F Minor, Allegro agitato, the resplendent No. 19 in E-Flat Major, Affettuoso, the grand No. 20 in C Minor, Appassionato, the works rounding out on the beautiful No. 21 in B-Flat Major, Andante, the quietly copious No. 22 in G Minor, Lento, the playfully flirtatious No. 23 in F Major, Vivo and the confident No. 24 in D Minor, Presto.

Then comes Frédéric Chopin’s Preludes (24), Op. 28, which open on the palatial No. 1 in C Major, Agitato, the thoughtfully pensive No. 2 in A Minor, Lento, the fluttering No. 3 in G Major, Vivace and a simply breathtaking No. 4 in E Minor, Largo, and they are in turned backed by the the swirls and twirls within No. 5 in D Major, Allegro molto, the copious No. 6 in B Minor, Lento assai, another work of pure elegance within No. 7 in A Major, Andantino, and then comes the spirited No. 8 in F-Sharp Minor, Molto agitato, the ornately sculpted No. 9 in E Major, Largo, the twinkling No. 10 in C-Sharp Minor, Allegro molto, the gorgeous No. 11 in B Major, Vivace, and the stridulant No. 12 in G-Sharp Minor, Presto.

Up next is the pure gossamer brought forth within No. 13 in F-Sharp Major, Lento. the furtive No. 14 in E-Flat Minor, Allegro, the delicate No. 15 in D-Flat Major, Sostenuto and the veritably blooming No. 16 in B-Flat Minor, Presto con fuoco, before we then get graced with the beautiful No. 17 in A-Flat Major, Allegretto, the fluttering No. 18 in F Minor, Allegro molto, the prosperous No. 19 in E-Flat Major, Vivace and one of my own personal favorite pieces, the grand No. 20 in C Minor, Largo, the work, and this recording as a whole, closing on the tangible No. 21 in B-Flat Major, Cantabile, the soaring No. 22 in G Minor, Molto agitato, the luxuriant No. 23 in F Major, Moderato, and finally we get the royally-hued No. 24 in D Minor, Allegro appassionato.

Fanny Azzuro @ Instargram

www.Avie-Records.com

Title - Vivaldi: Musica sacra per coro e orchestra, Vol. 1
Artist - Giulio Prandi’s Coro e Orchestra Ghislieri

For those unaware, since it’s inception in 2001, the Vivaldi Edition has explored the fantastic diversity of the work of the Prete Rosso. Presented by Giulio Prandi’s Coro e Orchestra Ghislieri, this seventy-second volume is once again dedicated to sacred music.

Two exceptional works, the Dixit Dominus, RV 807 and the Magnificat, RV 611, here frame rare motets such as Sanctorum meritis, RV 620 and Vos invito, barbarae faces, RV 811.

Preserved at the Saxon State Library, the Dixit Dominus belonged to a lot ordered from a Venetian publisher in the mid-1750s by the Saxon court which, threatened by the Prussian army, had been forced to flee Dresden for Warsaw.

Illustrating the highly pictorial text of Dixit Dominus, Vivaldi favors a lively and sparkling aesthetic, full of figuration’s. For example, pairs of repeated sixteenth notes depict the gentle lapping of a stream (De torrente in via bibet) while the impressive final fugue embodies the majesty of Christian communion.

Also forged in an ingenious and hushed counterpoint, the second motet of this programme, Confitebor tibi, Domine, presents three solo voices, something rare for Vivaldi. Hymn from the liturgy of the martyrs, Sanctorum meritis, RV 620 then introduces Vos invito, barbarae faces, whose text enjoins the believer to fight against the forces of evil.

This program finally offers the final version of the Magnificat in G minor (RV 611) in which the Red Priest specifically dedicated to a few singers of the Ospedale della Pieta certain sections, radically transformed since the first version of the 1710s.

This results in little less ensemble parts, and more arias for the soloists, almost a foretaste of Classicism. Faithful to his quest for clarity and joy that had been highlighted by moving recordings devoted to Jommelli and Rossini, Giulio Prandi, for this first collaboration with the naive label, glorifies the luminous, aristocratic sobriety of Vivaldi.

Vivaldi: Dixit Dominus, RV807
I. Coro, “Dixit Dominus”
II. Soli e Coro, “Donec ponam inimicos tuos”
III. Aria, “Virgam virtutis tuae”
IV. Duetto, “Tecum principium”
V. Coro, “Juravit Dominus”
VI. Aria, “Dominus a dextris tuis”
VII. Soli e Coro, “Judicabit in nationibus”
VIII. Aria, “De torrente in via bibet”
IX. Duetto, “Gloria Patri et Filio”
X. Coro, “Sicut erat in principio”
XI. Coro, “Amen … Et in saecula saeculorum”

Vivaldi: Confitebor tibi, Domine, RV 596
I. Terzetto, “Confitebor tibi, Domine”
II. Terzetto, “Memoriam fecit mirabilium suorum”
III. Terzetto, “Sanctum et terribile nomen ejus”
IV. Terzetto, “Intellectus bonus omnibus”
V. Aria, “Gloria Patri et Filio”
VI. Terzetto, “Et in saecula saeculorum”

Vivaldi: Sanctorum meritis, RV 620

Vivaldi: Vos invito barbarae faces, RV 811
I. Aria, “Vos invito, barbarae faces”
II. Recitativo, “Ergo impii tiranni”
III. Aria, “Sunt delitiae, non dolores”
IV. Aria, “Alleluia”

Vivaldi: Magnificat, RV611
I. Coro, “Magnificat anima mea Dominum”
II. Aria, “Et exultavit spiritus meus”
III. Aria, “Quia respecit humilitatem”
IV. Aria, “Quia fecit mihi magna”
V. Coro, “Et misericordia ejus”
VI. Coro, “Fecit potentiam”
VII. Coro, “Deposuit potentes”
VIII. Aria, “Esurientes implevit bonis”
IX. Coro, “Suscepit Israel puerum suum”
X. Aria, “Sicut lucutus est ad Patres nostros”

This exceptionally-dutiful, and amazingly-imbibed new recording opens on Vivaldi’s Dixit Dominus, RV807, and the flourishing Coro, “Dixit Dominus,” the cultured Soli e Coro, “Donec ponam inimicos tuos,” the elegant Aria, “Virgam virtutis tuae” and the perky Duetto, “Tecum principium,” and then we get the decadent Coro, “Juravit Dominus,” the opulent Aria, “Dominus a dextris tuis,” the regal Soli e Coro, “Judicabit in nationibus,” the beautiful sway of Aria, “De torrente in via bibet,” ending in the dance floor gentle swirls and twirls of Duetto, “Gloria Patri et Filio,” the strident fare of Coro, “Sicut erat in principio” and the veritably holiday-imbibed musical majesties of Coro, “Amen … Et in saecula saeculorum.”

Along next is Vivaldi’s Confitebor tibi, Domine, RV 596, which opens on the playful Terzetto, “Confitebor tibi, Domine,” the elegant Terzetto, “Memoriam fecit mirabilium suorum,” the wedding march-esque Terzetto, “Sanctum et terribile nomen ejus” and the fanciful Terzetto, “Intellectus bonus omnibus,” before giving way to the gilded Aria, “Gloria Patri et Filio,” culminating in the emboldened Terzetto, “Et in saecula saeculorum.”

Then comes Vivaldi’s harmoniously delightful Sanctorum meritis, RV 620 and his beautiful Vos invito barbarae faces, RV 811, which opens on the spirited Aria, “Vos invito, barbarae faces” before bringing forth the engrossing Recitativo, “Ergo impii tiranni,” the sheer gossamer of Aria, “Sunt delitiae, non dolores,” culminating on a simply breathtaking Aria, “Alleluia."

The last work is Vivaldi’s Magnificat, RV611, which begins with a resplendent Coro, “Magnificat anima mea Dominum,” an airy Aria, “Et exultavit spiritus meus,” and an astute Aria, “Quia respecit humilitatem,” with a flirtatious Aria, “Quia fecit mihi magna” backing them, and then we get the delicately hued Coro, “Et misericordia ejus,” the forcefully delivered Coro, “Fecit potentiam,” the dutifully harmonized Coro, “Deposuit potentes” and the regally-storied Aria, “Esurientes implevit bonis,” the work, and this new collection, closing on the choir-esque Coro, “Suscepit Israel puerum suum,” the sweeping Aria, “Sicut lucutus est ad Patres nostros” and the grandiose Coro, “Gloria Patri et Filio.”

www.Avie-Records.com

Title - Folk City: The Greenwich Village Musical [2CD]
Artist - Various

For those unaware, Folk City: The Musical brings its audience into the fascinating world of Beatniks, bohemians, hippies, folkies, blues players, singer-songwriters, poets, painters and rockers, all drawn to New York’s Greenwich Village in the 1960s to realize their creative dreams.

It’s the 60’s, Beatniks, bohemians, hippies, poets, singers, musicians, actors and artists are flocking to Greenwich Village and its hip little night spots. The legendary Folk City was a music venue in New York City’s cultural bullseye.

The play takes place in Gerdes Folk City, the now legendary music venue, where, for three decades, we follow six young, creative hopefuls in the turbulent and exciting 60’s, 70’s and 80’s, through dynamic musical, cultural, political, social and personal changes.

The play (and this 2024 DigiMIX of the cast album) ranges from 1960 to 1985, following all the twists and turns, mirroring the music trends and cultural changes of the times. Singers, songwriters, poets, writers, painters and social activists have always been the pulsing heart of Greenwich Village and Folk City: The Musical honors them all.

Their triumphs, challenges, relationships, jealousies, and their journeys through a myriad of cultural changes and their ongoing quest for recognition for their music to be heard, shared and to make a difference.

How Much Is Enough? finds Matthews marrying his signature, eloquent folk rock to the sepia-tinted songcraft of Neil Finn, the wide-eyed, wistful wonder of a young David Bowie, and more recent influences including Elliot Smith and Hiss Golden Messenger.

Fusing acoustic and electric instrumentation, it’s a record made by a man who didn’t need to make a record, and that purity and authenticity permeates its cultured songcraft and heartfelt lyricism.

Disc 1:
1. Village Doowop 2. The Village (Snap to It) 3. The Next Big Thing 4. Love At Third Sight 5. Big Deal (Beatnik Suite) 6. My Baby’s the Groove 7. Stand Tall 8. Everyone’s So Much 9. Rising Fahrenheit 10. California (State I’m In) 11. Let’s Hear It For Me 12. My Single Days Are Over 13. Out Of Sync 14. Good Goodbye 15. I Heard An Angel Sing 16. Castaway

The first disc opens on the emboldened Village Doowop, the finger-snapping, melodious delights of The Village (Snap to It), the sunny The Next Big Thing, and then we are brought forth the harmonically-hued Love At Third Sight, the spoken word Big Deal (Beatnik Suite), the low slung guitar work within My Baby’s the Groove, and both the delicate folk of Stand Tall and the gently strummed Everyone’s So Much.

Along next is the drum-led Rising Fahrenheit, the bright and breezy California (State I’m In), the upbeat, albeit Wartime conscription-imbibed Let’s Hear It For Me, and then we get the languishing My Single Days Are Over, the 70’s-lite jangles that drive Out Of Sync, the rhythmic guitar of Good Goodbye, the first disc rounding out on the flourishing I Heard An Angel Sing and the organically-hued Castaway.

Disc 2:
1. Stars, Baby 2. Never Been Taken This High 3. Rush Of Rhyme 4. Off My Mind 5. Far Enough 6. Quiet Riot (Worried World) 7. Dear Friends 8. We Must Become One 9. Lovers Leap 10. The Lovers 11. All Things Remembered (The Change Is All) 12. There’s A Spirit 13. I Belong Here 14. It’s A Shot

The second disc opens on the Eastern-flavored Stars, Baby, the free flowing, jazz happy Never Been Taken This High, the melodically pleasing Rush Of Rhyme, and they are in turn followed by the playfully upbeat Off My Mind, the low slung blues of Far Enough, the informatively-sculpted Quiet Riot (Worried World) and the atmospherically-charged Dear Friends.

Up next is the ornately beautiful acoustic track We Must Become One, a country twang that threads through the lonesome Lovers Leap, and the supple balladry of The Lovers, and they are backed seamlessly by the peaceful All Things Remembered (The Change Is All), the organ-veined There’s A Spirit, coming to a close on the blues-jazz gospel feel to I Belong Here and the foot-tapping 70’s melodic pop-rock of It’s A Shot.

www.mvdshop.com

Title - Into The Blue
Artist - Rich Goldstein

Veteran jazz guitarist and educator Rich Goldstein, a longtime faculty member at The Hartt School of Music at the University of Hartford, channels some of his guitar heroes and main influences on his brand new album, Into the Blue.

From Wes Montgomery and George Benson to Pat Martino, Joe Diorio and Randy Johnston, Goldstein’s playing on his debut release for the Truth Revolution label is marked by a seasoned touch, a penchant for swinging and obvious reverence for the history of jazz guitar.

Joined by organist Yahn Frankel, vibraphonist Behn Gillece and drummer Ben Bilello, Goldstein delivers in old school fashion on a program of well-known standards by Thelonious Monk, Django Reinhardt, Horace Silver, Stevie Wonder and the Beatles, along with two numbers popularized by Dinah Washington and Jack McDuff.

These soul jazz takes are blues-tinged and authentically grooving, transporting listeners back to the golden era of Blue Note’s Hammond B3 organ tradition in the ‘50s and ‘60s.

1. Hard Days Night (5:51)
2. Not A Tear (6:29)
3. What a Difference a Day Makes (6:08)
4. You and I (4:57)
5. I Mean You (5:00)
6. Nuages (5:25)
7. Our Miss Brooks (8:07)
8. Cool Eyes (4:14)
9. Altered State (5:02)
10. How Deep Is the Ocean (7:31)

Goldstein’s third recording as a leader, following 2008’s Wes Montgomery tribute, Comin’ from Montgomery, and 2011’s Effervescent with pianist Andy LaVerne, bassist Steve LaSpina, saxophonist Billy Drewes and drummer Anthony Pinciotti, opens on a sumptuous Hard Days Night and the luxuriously laid back Not A Tear, and then we get a playfully perky What a Difference a Day Makes, the rhythmic beauty of You and I and the finger-snapper I Mean You.

Along next is the languishing beauty of Nuages and the slow roll of the impassioned Our Miss Brooks, and they are in turn followed by the gently rambunctious chords of Cool Eyes, the album rounding out on the drum-led Altered State, coming to a close on the all-embracing tones of How Deep Is the Ocean.

www.truthrevolutionrecords.com

Title - Stryker With Strings - Goes To The Movies
Artist - Dave Stryker

Whether you’ve heard guitarist Dave Stryker leading his own group (with 35+ CD’s as a leader to date), or as a featured sideman with Stanley Turrentine, Jack McDuff, and many others, you know why the Village Voice calls him “one of the most distinctive guitarists to come along in recent years.”

Dave grew up in Omaha, Nebraska and moved to New York City in 1980. After establishing himself in the local music scene, he joined organist Jack McDuff’s group for two years 1984-85. When McDuff wasn’t on the road (literally traveling by van all over the country) they worked a steady four-night a week gig at Dude’s Lounge in Harlem. His first break, this turned out to be an invaluable experience, paying his dues night after night with the soulful jazz organist.

Dave is also Adjunct Professor of Jazz Guitar at the Mason Gross School of the Arts at Rutgers University, the John J. Cali School of Music at Montclair State University, he used to be at the Jacobs School of Music at Indiana University and now teaches at William Patterson U.

Dave recently launched his online teaching school at www.artistworks.com.

Dave’s last 5 CD’s have all gone to #1 on the JazzWeek Radio chart. Prime, his most recent, features his longtime working trio of Jared Gold and McClenty Hunter fresh off a tour opening for Steely Dan.

And now he brings forth his brand new album this January, the veritably opulent Stryker With Strings - Goes To The Movies (released via Strikezone Records).

1. In Your Eyes (Say Anything)
2. Cinema Paradiso (Main Theme) (Cinema Paradiso)
3. You Only Live Twice (You Only Live Twice)
4. Taxi Driver (Main Title) (Taxi Driver)
5. Theme From Shaft (Shaft)
6. Cavatina (The Deer Hunter)
7. Flirtibird (Anatomy of a Murder)
8. Low Key Lightly (Anatomy of a Murder)
9. Moonglow (Picnic)
10. Dreamsville (Gunn)
11. Edelweiss (The Sound of Music)

This deeply luxuriant new recording opens on the sumptuously triumphant I Your Eyes (from Say Anything) and a soulful Cinema Paradiso (Main Theme), and then we get the elegantly-hued, sweeping You Only Live Twice, the all-embracing Taxi Driver (Main Title) and the dutifully funky notes of Theme From Shaft.

Along next is the captivatingly ornate, simply pure gossamer of Cavatina (from The Deer Hunter) and that is in turn backed seamlessly by the old school bluesy jazz feel of both Flirtibird and Low Key Lightly (both from Anatomy of a Murder), the sweeping Moonglow (from Picnic), closing on the dulcet Dreamsville (from Gunn) and the low slung finger-snapper Edelweiss (from The Sound of Music).

Orchestra arranged & conducted by Brent Wallarab
Dave Stryker: guitar, Xavier Davis: piano & Fender Rhodes, Jeremy Allen: bass, McClenty Hunter: drums
Featured Soloists: Sara Caswell: violin, Greg Ward: alto saxophone, Jim Pugh: trombone, Mark Buselli: flugelhorn

www.davestryker.com

www.artistworks.com

Title - 45 West 55th
Artist - Novo Combo

In the winter of 1979, amidst the bustling streets of New York City, fate orchestrated a meeting that would ignite a musical journey. Bassist and vocalist, Stephen Dees, embarked on a taxi ride to 45 West 55th Street to meet legendary Santana drummer and future Rock & Roll Hall of Fame member Michael Shrieve, to consider forming a band.

The two hit it off immediately. After spending the afternoon listening to and discussing their musical ideas, they went to SIR Studios and jammed for several hours. By the end of day, they decided to form a group that would become Novo Combo.

However, birthing this musical entity was no easy feat. An exhaustive quest ensued, spanning two cities and auditions, in pursuit of the perfect lineup. Dees, residing in Miami, crossed paths with guitarist/vocalist Jack Griffith, adding a crucial piece to the puzzle. Returning to New York City, a myriad of guitarists paraded their talents, yet the missing element eluded them.

Just as hope wavered, a promising guitarist surfaced, Pete Hewlett. Beyond his guitar talent, his vocal prowess rendered him an impeccable match for the ensemble. With the addition of Hewlett, Novo Combo was now complete.

In the 1980s, Novo Combo embodied a lively fusion of rock and pop; creating catchy, danceable tunes with punchy guitars and dynamic rhythms that captured the era’s essence. Their music was both radio-friendly and artistically spirited, blending memorable hooks with a contemporary edge.

Their self-titled debut album featured hits like “Up Periscope”, “Tattoo”, and “City Bound E Train” holding strong positions on Billboard’s Top Rock Tracks. Noteworthy tracks such as “Sorry for The Delay”, “Axis Will Turn”, “Long Road”, and “Don’t Do That” enriched the album with a diverse musical tapestry.

With their sophomore album, Animation Generation, the video of the same name climbed to #5 on MTV’s Video Countdown. Tracks like “Too Long Gone”, “Welcome Innervision”, and “Slow Fade” continued to spotlight their musical prowess, underscoring their artistic depth and range.

In the song, “Animation Generation”, Stephen sings, “The future is where I want to be, living in the 21st century.” Fast forward 40 years later and that prophecy has come true. Novo Combo returns with 45 West 55th, a new 12-track collection.

The album features new, previously unreleased, live tracks, and early demo songs written at Shrieve’s NYC apartment; the very address that inspired the album’s title. These demo songs landed Novo Combo a major-label deal with Polydor, which released their self-titled debut Novo Combo in 1981 and Animation Generation in 1982.

1. Don’t Throw Your Love Away
2. E-Train Revisited
3. Everything It Takes to Be Happy
4. Sorry for the Delay
5. Please Don’t Do That
6. It’s Only Temporary
7. Hard to Say Goodbye
8. aXIS Live
9. Sirocco
10. Long Long Road
11. What’s Been Happening with You
12. Another Slow Fade
13. And I Love Her [CD-Only Bonus Track]

This brand new record, 45 West 55th, features all four original members, and opens on the airy AOR of Don’t Throw Your Love Away and the free wheeling E-Train Revisited and then brings us the rocker Everything It Takes to Be Happy, the Police-esque Sorry for the Delay and then comes the reggae-imbibed Please Don’t Do That and the horn-driven, rhythmic beauty It’s Only Temporary.

With 45 West 55th, Novo Combo is re-animated and regenerated for the 21st century and they continue onward here with the lush, mid-tempo, reggae-fused Hard to Say Goodbye and the melodious live rock of aXIS Live, and they are in turn neatly backed by the equally live, three minute drum solo Sirocco, a gentle reggae bounce back again for Long Long Road and the pleasing AOR rocker What’s Been Happening with You, the album closing on the reggae-hued, and aptly-titled Another Slow Fade and as a CD-only bonus track, a rather lovely cover of The Beatles tune And I Love Her.

45 West 55th - Release Sampler

www.novocombo.com

Novo Combo @ Facebook

Title - Shelters
Artist - Josh Lovelace

For those unaware, Josh Lovelace is a proud work in progress: whether it’s quitting drinking to be more present for his kids, quelling panic attacks before stepping on stage, or just figuring out what he believes after a childhood of being told that there’s only one way to pray.

Through all this turmoil, though, he’s had his touchstones, his shelters: loved ones, friends, and, of course, music.

“Writing has always been something that feels like a best friend in some ways; I’m able to lean on that any time,” Lovelace says. “I’ve never felt like I was ready to share where I am. Who I am at this moment feels like the right time to let all that out.”

And let it all out he does on landmark album Shelters, an 11-song suite of achingly personal tracks that ping-pong with alacrity between self-doubt, angst, and a stunning kind of hope. An album close to the heart that’s also deeply, deeply relatable to anyone who’s ever felt lost, Lovelace’s solo effort drops on October 25th, 2024.

1. Better Days
2. Miracles
3. High Throne
4. Lovelight
5. Flames & Smoke
6. Not The Best Version Of Myself (Right Now)
7. Praying Wrong
8. Hole Through My Heart
9. The Same Things
10. I Stopped Drinking Yesterday
11. Soul

This dutifully hued, wholly impassioned new recording (and now my own personal favorite of 2024) opens on an aching, dulcet yearn found driving Better Days and then turns things up on the free flowing, sunny smile of Miracles, the slightly sterner, yet no less melodious High Throne, the beautifully rhythmic, soulful mid-tempo rocker Lovelight (a song that you can hear Taylor Swift singing as her own), and then we get the all-embracing sounds of Flames & Smoke.

Along next is the low slung, self-confessional Not The Best Version Of Myself (Right Now) and that is in turn backed by the harmonically driven Praying Wrong and they are in turn followed seamlessly by the emboldened Hole Through My Heart, the atmospherically-charged The Same Things, the album rounding out on the encircling warmth of I Stopped Drinking Yesterday, closing on the emotional balladry within Soul.

“Growing up as a preacher’s kid, we were taught that an invisible force in the sky was the ultimate shelter when things get rough. But as I got older, I started seeing holes in the foundation,” Lovelace says. “And so the reason why I call the album ‘shelters’ instead of just ‘shelter’ is because there’s not a one stop-shop for salvation. Different people became shelters for me — and also my work. There’s beauty in that.”

www.joshlovelacemusic.com

Title - A Christopher Cross Christmas
Artist - Christopher Cross

Christopher Cross burst onto the music scene in 1979 with his self-titled debut which included classic singles like “Ride Like The Wind” (with Michael McDonald on backing vocals), “Say You’ll Be Mine (with Nicolette Larson), “Never Be The Same,” and the gigantic smash “Sailing.”

The songs flew up the charts and remain ever-present on the airwaves to this day. The album and singles garnered six Grammy nominations, winning five (a feat not replicated by a new artist until nearly four decades later by Billie Eilish). He continued to dominate with “Arthur’s Theme (Best That You Can Do)” in the coming years, garnering more Grammy nods, an Academy Award, and another number one single.

In 2007, Cross recorded a Christmas album with Danny O’Lannerghty (Amy Grant, Phil Keaggy) and Michael Omartian (producer of Cross’ acclaimed debut and beyond, as well as smash hits from Donna Summer, Rod Stewart, Kenny Loggins, Peter Cetera, and more).

The festive album featured originals and Christopher’s take on classics like “Do You Hear What I Hear,” “Have Yourself A Merry Little Christmas,” and “Christmas Time Is Here” (from A Charlie Brown Christmas). A Christopher Cross Christmas became a holiday staple.

Now, A Christopher Cross Christmas returns for 2024 on CD and LP. It’s time to fire up the stereo and enjoy the season. In one of his originals, Christopher asks “Does It Feel Like Christmas.” With A Christopher Cross Christmas, it certainly does.

1. Silent Night
2. Christmas Time Is Here
3. The Christmas Song
4. Does It Feel Like Christmas
5. Little Drummer Boy
6. I’ll Be Home For Christmas
7. A Dream Of Peace At Christmastime
8. Count Your Blessings Instead Of Sheep
9. Do You Hear What I Hear
10. The Best Christmas
11. Have Yourself A Merry Little Christmas
12. O Come, O Come, Emmanuel

From the musician that can bring forth soft rock albums of the highest, and most beloved caliber, and all as beloved today as they were back then, in 2007 he released his lovely Christmas album of lush holiday tracks.

It opens on the a hauntingly harmonious Silent Night and the rhythmically dulcet Christmas Time Is Here and backs those up with the languishing beauty within The Christmas Song, the ornately sewn Does It Feel Like Christmas, the melodious Little Drummer Boy, and then we get the low slung I’ll Be Home For Christmas.

Along next is the children-enhanced, lushly orchestrated A Dream Of Peace At Christmastime and the low slung Count Your Blessings Instead Of Sheep, and they are in turn followed by the gently rhythmic nature of Do You Hear What I Hear, the ornate, all-embracing The Best Christmas, the recording rounding out on the beautiful hipsway within Have Yourself A Merry Little Christmas, closing on the dutifully atmospheric O Come, O Come, Emmanuel.

www.christophercross.com

Title - Changed Lives
Artist - Tim Solook

During the global pandemic of 2020, Texas-based drummer and composer Tim Solook released his fourth album Delete Event.

That album was a noteworthy continuation of Tim’s jazzy, instrumental fusion sound and featured a range of musicians that helped him bring that album to completion.

Now, in 2024 Tim Solook returns with his fifth solo album Changed Lives. Featuring a fresh set of Solook originals, the 10-track, 43-minute album spotlights several of the same musicians featured on Delete Event including electric guitarist Paul Chester.

Inspired by the life-changing events of the past four years, including the pandemic and war in Europe, Changed Lives sounds equally positive and inspiring.

The chemistry between the players on hand is very impressive with Tim’s full-scale drum kit leading the ensemble through a full range of musical changes.

The performances of guitarist Paul Chester and the keyboards of Andrew Lienhard are quite impressive, as they were back on 2020’s Delete Event. Adding more to the sound of Changed Lives are David Craig (bass) and Warren Sneed (sax).

1. Rhythm Suite #1
2. January
3. Free Sample
4. Rhythm Suite #2
5. I’m Not Sayin’ Nothin’
6. Changed Lives
7. Rhythm Suite #3
8. Old Friends
9. Steve Gadd
10. Twenty Three

A regular drummer for fellow Houston Jazz Mafia member Tianna Hall, this mesmerizingly musical new recording opens on the veritably ethereal, stoic yet moving Rhythm Suite #1, before next unleashing the joyful escapade of January, the melodious Free Sample, the feverishly sculpted Rhythm Suite #2, and then comes the beautiful dance floors swirls and twirls of I’m Not Sayin’ Nothin’.

Along next is the ornately sewn title track Changed Lives and the third, and final of the atmospheric Rhythm Suite’s (#3), and they are in turn followed seamlessly by the upright bass-fed, languishing beauty within Old Friends, the drum-led exploits of Steve Gadd, closing on the luxuriant Twenty Three.

Changed Lives was recorded in Sugar Land, Texas in late 2023 with the exception of the title track, recorded at Houston’s San Jacinto College in mid 2022. An affirmation of optimistic musical energies generated during times of adversity and challenge; Changed Lives is a positive channel for Tim Solook’s collective musical expression.

Tim Solook @ Facebook

Title - Coincidence Re-Releases
Artist - Coincidence

By the 1970’s, the global jazz-rock fusion scene was in high gear. In France, a new instrumental jazz-rock band called Coincidence began playing live. Featuring the twin lead guitar sound of Jean-Pierre Llabador and his brother Jean-Claude, Coincidence released two exciting studio albums of instrumental fusion when Jean-Claude was killed in a car crash.

Following that tragedy, Jean-Pierre Llabador went on to a successful recording career with his 1983 solo debut album entitled Coincidences.

Now in 2024, we are lucky that Jean-Pierre Llabador is still with us. Following two heart attacks and a car crash that almost took his life in the early 2020’s, he returns with Castle Records and the promise of his new solo album on the way.

First on Castle is a live Coincidence album called Archives 1973-1974. With its jazzy, prog-fusion instrumental and vocal performances, Coincidence: Archives 1973-1974 features 4 tracks, including the 30+ minute “Glimpse”, with the CD/LP clocking in at 50 minutes. Featured on this rare Coincidence live album are Jean Pierre Llabador (guitars, vocals) and Jean-Claude Llabador (guitars, vocals and keyboards) backed by a full band.

1. Glimpse - (30:07) 2. Astronaut / Juggernaut - (12:40) 3. Suite Pt. 1 - (2:08) 4. Suite Pt. 2 - (4:34)

On this rare live album of Coincidence, we find the Llabador brothers, Jean-Pierre (electric guitars) and Jean-Claude (electric guitars and keyboards) with the support of Dominique Frasson-Cochet (flute, saxophone, vocals), André Simantirakis (bass, vocals) and René Mirguet (drums, percussion).

It is a most rapturous four track musical experience, of that you have my word, especially with stand out cuts such as the thirty minute opener Glimpse and the twelve minute opus Astronaut / Juggernaut.

Oh, and Coincidence’s long-time sound engineer, Guy Simon, is back on site and he has done a great job of restoring the tape transfer to CD and LP.

Musicians: Jean-Claude Llabador (g,k,v) / Jean Pierre Llabador (g,v) / Dominique Frasson-Cochet ( f,s,v), André Simantirakis (b,v) and René Mirguet (d).

Also reissued on CD/LP for the first time are the two studio albums by Coincidence. First is Mets Tes Lunettes Et Ecoute Comme Ca Sent Bon! (Vol.1), a reissue of the 1976 self-titled Coincidence LP.

1. Berceuse Chinoise / Chinese Lullaby (5:28) 2. Les Grenouilles / Froggies (7:13) 3. Soleils / Sunlight (2:25) 4. Sequences (5:36) 5. Canevas / Weaver’s Opus (3:21) 6. Sucre D’orge / Barley Sugar (4:12)

With Jean-Pierre (guitars) and Jean-Claude (keyboards, guitars) at the helm of all compositions and arrangements, this first Coincidence line-up also includes Jean-Pierre Barreda (bass) and the late drummer Jacky Cataldo. The LP and CD reissue of this first Coincidence album is rightly dedicated to Jean-Claude and Jacky Cataldo.

And I can’t imagine a more gracious gesture of gratitude from Jean-Pierre Llabador, the composer and guitar icon who suffered the loss of his older brother at such a young age.

It opens on the veritably luminously grooved Berceuse Chinoise / Chinese Lullaby and then brings us the delightfully airy funk of Les Grenouilles / Froggies, the translucently-effortless Soleils / Sunlight, the all-embracing Sequences, the recording rounding out on the orchestrally-hued magnificence of Canevas / Weaver’s Opus, closing on the joyful hop-skip of the flirtatious Sucre D’orge / Barley Sugar.

Filled with melodic instrumental guitar/keyboard tracks, the six-track album is just under half an hour long and yet ranks among the truly memorable jazz-rock albums of the 1970s or indeed any decade since or before.

Musicians: Jean-Claude Llabador (g,k) / Jean Pierre Llabador (g) / Jean Pierre Barreda (b) / Jacky Cataldo (d).

That is followed by the final Coincidence album from 1979, Clef de Ciel (Key Of The Sky), here billed as Mets Tes Lunettes Et Ecoute Comme Ca Sent Bon! (Vol.2).

1. L’Autre Face / The Other Side (4:16) 2. Miroir / Mirror (2:31) 3. Agawe (7:31) 4. A Toi, A Moi / Let’s Talk It Over (3:06) 5. Azigu / Fantasy Land (4:34) 6. Exile #1 (4:30) 7. Si T’es Reggae / Digging Reggae? (3:06) 8. Tu Parles / Keep Talking (4:23) 9. Cote Cour, Cote Jardin / O.P. – P.S. (3:23)

The best of this French band with a sad existence was Coincidence’s last album, Clef de Ciel. At the height of the truly revolutionary French instrumental jazz-rock albums of the twentieth century, the album, here entitled Mets Tes Lunettes and Ecoute Comme Ca Sent! (Vol. 2), represented Coincidence at its peak.

It opens on both the luxuriant L’Autre Face / The Other Side and the transformative Miroir / Mirror, and also brings forth the smooth-grooved A Toi, A Moi / Let’s Talk It Over, the beguiling musical majesties within Azigu / Fantasy Land, not to mention the dulcet hipsway that ebbs and flows throughout Tu Parles / Keep Talking.

Reissued here for the first time in its original composition, Clef Du Ciel has lost none of its sonorous brilliance and infinite brilliance. Musicians: Jean-Claude Llabador (g,k) / Jean Pierre Llabador (g) / Michel Montoyat (b) / Joel Allouche (d) / Jacky Cataldo (d,p).

With a new Jean-Pierre Llabador album on the way, these three artifacts from the heyday of long lost instrumental art rock fusion legends Coincidence is a great place to start.

www.castle-records.fr

Title - La Bella Vita [EP]
Artist - Tom Salvatori - Solo Guitar

Tom Salvatori’s brand new EP is entitled La Bella Vita and contains five newly recorded solo nylon string guitar pieces.

In the first two pieces, Tom re-imagined other composers works as guitar lullabies. Here his arrangements stay strongly reverent to the original form and structure of the compositions, but he presents the pieces in a way that he anticipates neither composer would have ever expected to hear their work.

Mendelssohn in his Violin Concerto #1 in E minor (excerpt from 2nd Movement) and Silvestrov in his Serenade for Solo Violin are now re-imagined as solo nylon string guitar lullabies.

Tom then picks up the composing from there to introduce three new pieces that he has recently written and recorded.

Since college, Tom has chosen a musical path of composing his own uniquely styled works for the contemporary Nylon String Guitar rather than one of stage performance and the study of the works of the Masters.

1. Mendelssohn’s Andante
2. Silvestrov’s Serenade
3. To and Fro
4. Riposo
5. Lullaby for Henry

This expertly diligent, dutifully masterful new EP opens on the delicately-hued Mendelssohn’s Andante and then we get the sumptuously ornate Silvestrov’s Serenade, the elegantly sculpted To and Fro, rounding out on the sheer gossamer of Riposo, closing on the dulcet, veritably whispered Lullaby for Henry.

www.salvatoriproductions.com

www.tomsalvatori.com

Title - Concerto for Piccolo & for Four Wagner Tubas
Artist - Christopher Tyler Nickel

Award-winning Canadian composer Christopher Tyler Nickel scales heights and plumbs depths with his novel new recording of concertos, for piccolo and for four Wagner tubas.

Following his recently released Requiem, last year’s epic seven-hour Gospel According to Mark, and concertante works for all ranges for his own instrument – oboe, oboe d’amore and bass oboe – Chris’ new recording includes a dazzling Concerto for Piccolo featuring principal piccolo player of the Los Angeles Philharmonic Sarah Jackson, paired with an astounding assemblage of four players of the Wagner tuba, a hybrid tuba-French horn instrument commissioned by the namesake composer for his opera cycle Der Ring des Nibelungen.

Both Jackson and the four Wagner tuba soloists – Oliver de Clercq, Laurel Spencer, Valerie Whitney, Holly Bryan – are superbly supported by conductor Clyde Mitchell and the Vancouver Contemporary Orchestra.

CHRISTOPHER TYLER NICKEL (b. 1978)
Concerto for Piccolo
1. I. Andante con ferocia (6.17)
2. II. Andante (8.28)
3. III. Allegro con fuoco (7.47)

Concerto for Four Wagner Tubas
4. I. Lacrimoso (9.28)
5. II. Adagio (6.52)
6. III. Allegro (6.38)

This lushly orchestrated new recording opens on Nickel’s Concerto for Piccolo, which begins with the confidence of flight shown within Andante con ferocia, before bringing us the slightly foreboding, yet cultured Andante, closing on the sterner, yet flighty Allegro con fuoco.

The second piece here is Nickel’s Concerto for Four Wagner Tubas, which itself opens on the languishing Lacrimoso, then brings us the resplendent Adagio, the recording closing on the stridently uplifting Allegro.

Title - The Young Schumann
Artist - Charles Owen

The Young Schumann, the new release by British pianist Charles Owen, is a musical narrative of Robert Schumann’s early career, featuring works written in the 1830s when the composer was in his 20s.

His first two published works, Abegg Variations and Papillons, the impetuous six Intermezzi, Op. 4, and the characterful Carnaval, Op. 9, are all fuelled by some of Schumann’s compositional hallmarks: his imagination and attraction to the fantastical, his love of ciphers and cryptograms, and his frequent quoting of each work within the others.

ROBERT SCHUMANN (1810–1856)
Carnaval, Op. 9
1. No. 1, Préambule 2. No. 2, Pierrot 3. No. 3, Arlequin 4. No. 4, Valse noble 5. No. 5, Eusebius 6. No. 6, Florestan 7. No. 7, Coquette 8. No. 8, Réplique 9. No. 9, Papillons 10. No. 10, Lettres dansantes 11. No. 11, Chiarina 12. No. 12, Chopin 13. No. 13, Estrella 14. No. 14, Reconnaissance 15. No. 15, Pantalon et Colombine 16. No. 16, Valse allemande 17. No. 17, Paganini 18. No. 18, Aveu 19. No. 19, Promenade 20. No. 20, Pause 21. No. 21, Marche des Davidsbündler contre les Philistins

Papillons, Op. 2
22. Introduction. Moderato – No.1, Waltz in D Major 23. No. 2, Waltz in E Flat Major. Prestissimo 24. No. 3, Waltz in F Sharp Minor 25. No. 4, Waltz in A Major. Presto 26. No. 5, Polonaise in B Flat Major 27. No. 6, Waltz in D Minor 28. No. 7, Waltz in F Minor. Semplice 29. No. 8, Waltz in C Sharp Minor 30. No. 9, Waltz in B Flat Minor. Prestissimo 31. No. 10, Waltz in C Major. Vivo – Più lento 32. No. 11, Polonaise in D Major 33. No. 12, Finale in D Major

Intermezzi, Op.4
34. I. Allegro quasi maestoso 35. II. Presto a capriccio 36. III. Allegro marcato 37. IV. Allegro semplice 38. V. Allegro moderato 39. VI. Allegro

40. Variations on the name ‘Abegg’, Op. 1

This magnificently hued, delicately controlled new recording opens on Schumanns’s Carnaval, Op. 9 which begins on the strident No. 1, Préambule, the dignified No. 2, Pierrot, the playful No. 3, Arlequin, a velvet touch within No. 4, Valse noble, and the ornate No. 5, Eusebius, and then proceeds to bring us the gently spirited No. 6, Florestan, the resplendent No. 7, Coquette, a stylized No. 8, Réplique, the flourishing No. 9, Papillons, and an effective No. 10, Lettres dansantes, before rounding the work out on the elegant No. 11, Chiarina, the stately No. 12, Chopin, the confident No. 13, Estrella, the effervescent No. 14, Reconnaissance, a peppy No. 15, Pantalon et Colombine, and closes on a dutiful engaging No. 16, Valse allemande, the free flowing No. 17, Paganini, the sweeping No. 18, Aveu, the delicate, yet forthright No. 19, Promenade, the abounding, twenty second No. 20, Pause, and finally the emphatic No. 21, Marche des Davidsbündler contre les Philistins.

Up next is Schumanns’s Papillons, Op. 2, which opens on an enraptured Introduction. Moderato – No.1, Waltz in D Major, a short, but sweet No. 2, Waltz in E Flat Major. Prestissimo, the compelling No. 3, Waltz in F Sharp Minor and the dance floor swirls and twirls of No. 4, Waltz in A Major. Presto, and then we get brought forth the gently affecting No. 5, Polonaise in B Flat Major, the spirited No. 6, Waltz in D Minor, the compassionate No. 7, Waltz in F Minor. Semplice, the respectfully forceful No. 8, Waltz in C Sharp Minor, the floweringly paced No. 9, Waltz in B Flat Minor. Prestissimo, the work rounding out on the confidence shown within No. 10, Waltz in C Major. Vivo – Più lento, the impassioned No. 11, Polonaise in D Major, closing on the veritably euphoric No. 12, Finale in D Major

Along next is his Intermezzi, Op.4, which begins with a determined Allegro quasi maestoso, the assured Presto a capriccio and the musical preciseness of Allegro marcato, and then we get the secureness of sounds within Allegro semplice, the gorgeously crafted Allegro moderato, rounding out on the fervently-imbibed confidence of Allegro, the album as a whole coming to a close on a wholly engaging, completely enraptured Variations on the name ‘Abegg’, Op. 1.

Title - Variations on House of the Rising Sun
Artist - Bruce Wolosoff

Bruce Wolosoff is a formidable pianist, lauded for his integration of classical, jazz, blues, and contemporary influences in his compositions.

His new magnum opus, Rising Sun Variations, is an extended and innovative set based on the American traditional folk song, best known for a version recorded in 1964 by British rock band the Animals.

Wolosoff’s “Prelude and Theme” are followed by 39 Variations ranging from sonorous to serene, encompassing a multitude of styles united by the well-known refrain.

Trust me when I say that pianist-composer Bruce Wolosoff is a musical alchemist, organically mixing his multiple experiences in the worlds of jazz, rock, blues and classical music and that this new recording is yet another musical pinnacle in his already esteemed career.

BRUCE WOLOSOFF (b. 1955)
Rising Sun Variations
1. Prelude, Theme, and Variations 1–5 (5:00)
2. Variations 6–8 (1:56)
3. Variations 9 & 10 (2:15)
4. Variations 11–14 (4:19)
5. Variations 15–18 (3:52)
6. Variations 19–24 (6:08)
7. Variations 25 & 26 (2:17)
8. Variations 27–29 (2:07)
9. Variations 30–34 (7:11)
10. Variations 35–37 (2:45)
11. Variations 38 & 39 (2:34)

Recorded on June 8th, 2024 at Oktaven Audio, Mount Vernon, New York, this simply stunning work of musical art opens on the dulcet, yet sternly sculpted one minute, shimmering and flirtatious the next Prelude, Theme, and Variations 1–5, the delicately hued gossamer, latterly the flourishing Variations 6–8, the forthright stance, grandiose thereafter Variations 9 & 10 and then a scintillatingly Variations 11–14, and then we get brought forth a genuine humbleness shown within the empowering Variations 15–18, the sheer elegance of Variations 19–24, the languishing beauty of Variations 25 & 26, the recording rounding out on the lavishly cultured Variations 27–29, the spirited, yet organically attentive Variations 30–34, closing on the emboldened Variations 35–37 and the strident Variations 38 & 39.

Pritesh Walia Jazz Trio - Hope Town [Official Video]

Title - Hopetown
Artist - Pritesh Walia

Jazz guitarist extraordinaire Pritesh Walia has been bubbling under the surface of wider public awareness and acclaim for several years.

His nimble technical skills and deep sense of musicality has been making its mark in performances as a leader and as sideman, while his strides in education—after graduating from Berklee College of Music and New England Conservatory–have helped to spread his message in that capacity.

But with the release of Walia’s impressive debut album Hopetown, featuring his guitar trio with bassist Chris Worden and drummer Gen Yoshimura, Walia is poised to go public in a more game-changing way.

His long-awaited recording debut, a fresh and deep excursion into the neo-mainstream, clean-toned jazz guitar trio tradition, boldly initiates the discography portion of his career, with yet three other varied albums soon to follow.

Earlier this year, he released the self-titled album with his organ trio PSA, and coming soon are albums by his big band and a special strings project.

1. Hope Town
2. Low Talks
3. Staying Home
4. Low Talks
5. Finishing Up
6. Colors
7. Brief
8. Blackbird

The New Delhi-born and currently Los Angeles-based Walia, opens his new album on the joyfully infectious title track Hope Town and the fervently-charged Low Talks and then we get brought forth the quietly furtive, yet notably low slung foot tapper Staying Home and the gracefully sculpted Low Talks.

Along next is the bittersweet, yet sprightly nuances that breathe within Finishing Up which is in turn backed seamlessly by the flirtatiously playful Colors, the album rounding out on the perky Brief, coming to a close on his enraptured, slightly subversive rendition of the Beatles’ beloved Blackbird.

When it came time to record Hopetown, Walia was insistent that it be in a live way, together in a studio with sight lines between his highly empathetic bandmates. Jazz, he asserts, is “communicative music. I want to have a line of sight to cue a lot of things. Also, there’s something about visually being able to see each other that helps us improvise. There are so many moments in the music where it feels like we’re all on the same page, in the same stream of consciousness.”

www.priteshwaliamusic.com

Pritesh Walia @ Facebook

Title - Lights on a Satellite
Artist - Sun Ra Arkestra

On the occasion of the 100th birthday of Marshall Allen, IN+OUT Records invited the Sun Ra Arkestra into the studio with 24 musicians.

As if from the farthest reaches of space, a tremendous positive energy has come to us via Light on a Satellite. It is Sun Ra’s music, played by his Arkestra, more than 30 years after the legendary band founder’s earthly demise - or, in other words, after his reported ascent to Saturn.

Under the direction of Marshall Allen, the NEA Jazz Master (2025) and multi-instrumentalist, who celebrated his 100th birthday on May 25th, 2024, Sun Ra’s big band has arrived safely in the 21st century, after traveling Sun Ra’s space ways for almost 70 years.

This album pays tribute to the lifetime achievement of Marshall Allen, who leads the Sun Ra Arkestra since 1993. Recorded in Studio A at New York’s Power Station on June 16th, 2024, the album celebrates the mastery of the exceptional musician Marshall Allen as a multi-instrumentalist, arranger, bandleader, teacher, and guardian of Sun Ra’s unique legacy.

Perhaps this day will one day become part of the collective jazz memory, for what we are experiencing here is a simultaneity of the non-simultaneous, projected into the future, a time machine traveling through 100 years of jazz, out of the free approach of the Sun Ra Arkestra and in its signature groove right into the heart of swing - with a century-old jazz master as captain.

That in itself is a superlative. We are even more inspired by the power with which the virtuoso Marshall Allen continues his life’s vocation.

1. Lights On A Satellite
2. Dorothy’s Dance
3. Big John’s Special
4. Images
5. Friendly Galaxy
6. Baby Won’t You Please Be Mine
7. Holiday For Strings
8. Tapestry From An Asteroid
9. Reflects Motion
10. Way Down Yonder In New Orleans

This immaculately honed, wholly impassioned new recording opens on the mildly abrasive, yet rhythmically jaunty title track Lights On A Satellite and the joyfully soulful Dorothy’s Dance, a blistering Big John’s Special and then come both the forthrightly earnest Images and the all-embracing swings, loops, and all over rhythmic melodies of Friendly Galaxy.

Along next is the delightfully melodious Baby Won’t You Please Be Mine and that is in turn backed beautifully by the Thelonious Monk-esque coolness of Holiday For Strings, the dutiful trumpet ballad Tapestry From An Asteroid, the album rounding out on the harmonious-imbibed combination of vocalized sounds within Reflects Motion, closing on the euphoniously glorified magnificence of Way Down Yonder In New Orleans.

As a tribute to the life’s work of Marshall Allen, Frank Kleinschmidt of IN+OUT Records invited the Sun Ra Arkestra into the studio with 24 musicians in the largest possible line-up, with the goal of documenting the music in its polyphony and expansion in space and time in the best possible way.

It is not only the variety of instruments used, but also the fact that musicians from four generations come together with a repertoire that spans 100 years of jazz history.

Musicians: Marshall Allen – leader, alto sax, EVI, gong, additional vocals Tara Middleton – vocals, violin Knoel Scott – alto & baritone sax, congas, additional vocals Anthony Nelson – clarinet, baritone sax Nasir Dickerson – tenor sax James Stewart – flute, tenor sax Chris Hemingway – alto sax Michael Ray – trumpet, vocals Cecil Brooks – trumpet Vincent Chancey – french horn Brent White – trombone & bass trombone Dave Davis – trombone Robert Stringer – trombone Nina Bogomas – harp Owen Brown Jr. – violin Gwen Laster – violin Melanie Dyer – viola Farid Barron – piano, keyboards, moog theremin Carl LeBlanc – guitar, vocals Dave Hotep – guitar Tyler Mitchell – bass George Gray – drums Elson Nascimento – surdo, percussion.

Lisa Hilton - And Some Blues... [Official Music Video]

www.inandout-records.com

Title - Lucky All Along
Artist - Lisa Hilton

In her liner notes for her latest release entitled Lucky All Along (Ruby Slippers Productions 1030) out November 29th, 2024, the acclaimed pianist/composer/band leader Lisa Hilton shares that the music is “Inspired by the history of cool jazz as well as the art of Impressionism.”

Instead of paint, her compositional tools include “different harmonic palettes and rhythmic textures such as blues, swing, improvisation, free jazz, polyrhythms, bop, ragtime, early rock, the Latin tinge and traditional riffs.” Hilton hails from California, where many cool jazz creators previously lived for a period.

These musicians include some of the most iconic jazz artists of all time: Miles Davis (1926-1991), Chet Baker (1929-1988), Stan Getz (1927-1991), as well as pianist Bill Evans (1920-1980). These “cool” and very expressive artists favored a moody style of playing with innovative harmonic explorations versus the more energetic “hot,” or free jazz styles.

Hilton also mentions being inspired by impressionist artists, including Dutch painter Vincent Van Gogh (1853-1890), the French painter George Seurat (1859-1891), and French plein-air painter Claude Monet (1840-1926), who were searching for new ways to express what they saw and felt through their art. This same spirit has fueled explorations in a variety of musical directions on Hilton’s outstanding new quartet release.

Percolating with ideas, the nine original compositions and three cover tunes are intimate, enthralling, and laced throughout with rich blue tones, and swinging with Hilton’s expressive touch on the piano. Lucky All Along gracefully shares the spotlight with quartet mates Igmar Thomas on trumpet, Luques Curtis on bass, and Rudy Royston on drums and percussion.

1. Little Beach Mornings
2. All Blues
3. Prophesies & Predictions
4. Hollywood Moment
5. And Some Blues…
6. Escapist Fantasy
7. See You Again
8. Starry, Starry Eyes
9. Lucky All Along
10. Big Sur Views
11. Snow on the Beach

This beautifully crafted, and truly melodious new recording opens on the magnificently sumptuous Little Beach Mornings and the low slung, late night ambiance of Miles Davis’ All Blues and then comes the veritably shimmering Prophesies & Predictions, the graceful Hollywood Moment and one of my own personal favorites here, the earnestly sculpted And Some Blues….

Along next is the relaxed elegance of Escapist Fantasy and the enraptured soulfulness of Charlie Puth’s See You Again and they are in turn backed by the quietly free flowing Starry, Starry Eyes, the flourishing Lucky All Along, the album rounding out on the languishing Big Sur Views, closing on the sheer elegance shown threaded throughout Snow on the Beach (co-written by Taylor Swift, Lana Del Rey, and Jack Antonoff).

Musicians:
Lisa Hilton | Piano
Igmar Thomas | Trumpet
Luques Curtis | Bass
Rudy Royston | Drums/Percussion

www.lisahiltonmusic.com

Title - Ashes to Gold
Artist - Avishai Cohen

In blazing form, the trumpeter from Tel Aviv responds to the turbulent spirit of a troubled time, leading his dedicated band through a five-part suite that runs the gamut of emotions, by turns hopeful, despairing, outraged and profoundly melancholic.

The melodic directness of the concluding “The Seventh”, composed by Avishai Cohen’s teenaged daughter Amalia, offers consoling contrast to the suite’s intensity.

In between, Cohen turns his attention to the haunting Adagio assai from Ravel’s G major piano concerto, which has long been a highlight of the quartet’s concerts. Ashes to Gold was recorded in November 2023, at Studios La Buissonne, in the South of France.

1. Ashes to Gold, Part I (9:17)
2. Ashes to Gold, Part II (6:44)
3. Ashes to Gold, Part III (3:34)
4. Ashes to Gold, Part IV (2:11)
5. Ashes to Gold, Part V (10:28)
6. Adagio assai (from Ravel’s Piano Concerto in G major) (7:56)
7. The Seventh (3:23)

This decadently-sculpted new recording opens on the ornate, delicately-hued Ashes to Gold, Part I and the sheer gossamer of the airy Part II, and then we get brought forth the heavenly divine, smoothly elegant Part III, the more liberated notes of Part IV, the veritably shimmering, ten minute Part V, the album rounding out on a dutifully impassioned Adagio assai (from Ravel’s Piano Concerto in G major), closing on daughter’s-composed work, the flourishing The Seventh.

www.avishaicohen.com

All Cried Out (Key Version)

Title - Key
Artist - Alison Moyet

For those curious, after 2017’s Other, Alison Moyet took time away from the music industry to study Fine Art Printmaking at Brighton University and in 2023 graduated with a first-class degree BA (Hons).

But she’s now back with this new record to celebrate her 40th year as a solo artist and has announced a world tour for next year.

The new album, entitled Key (out now via Cooking Vinyl) features 16 re-recorded songs and two new tracks and has been created with her longtime producer, arranger and musical director Sean McGhee, with the ‘reimagined’ tracks made up from “singles, fan favorites and deep cuts”.

Alison says, “I wanted to take the opportunity to look at the trajectory of the past four decades and explore songs that, in their original form, were never fully realized or have had their relevance to me altered by time.”

Other reworked tracks include ‘Love Resurrection’, ‘Where Hides Sleep’ (both from ‘Alf’), ‘Is This Love’, ‘Can’t Say It Like I Mean It’ and ‘This House,’and one of the new tracks is called ‘Such Small Ale’.

1. Where Hides Sleep (Key version)
2. All Cried Out (Key version)
3. Such Small Ale 4. All Signs of Life (Key version)
5. Can’t Say It Like I Mean It (Key version)
6. Fire (Key version)
7. Filigree (Key version)
8. The Impervious Me 9. More (Key version)
10. Is This Love? (Key version)
11. Tongue Tied (Key version)
12. My Right A.R.M. (Key version)
13. So Am I (Key version)
14. My Best Day (Key version)
15. World Without End (Key version)
16. This House (Key version)
17. Love Resurrection (Key version)
18. You Don’t Have To Go (Key version)

On an album that distills 40 years of music making, presenting a cohesive overview of a long and dazzling journey, Alison opens up her brand new recording on Key versions of the ethereally stoic Where Hides Sleep (from ALF), the newly-effective All Cried Out (also from Alf), and the soaring gossamer within the first of two new tracks Such Small Ale, and then we get brought forth Key versions of the sumptuous All Signs of Life (from her underrated The Minutes), the synth-infused beauty Can’t Say It Like I Mean It (from The Turn), an impassively crafted Fire (from The Turn), and then we get the emotional Filigree (from The Minutes), the euphorically upbeat second new track The Impervious Me, and the Key version of the low slung foot-tapper More (from Hometime).

Along next are more Key versions of her tracks, such as the hauntingly reworked Is This Love? (from Raindancing), the exquisitely sublime Tongue Tied (from Hometime) and the empyreal feel that flows through My Right A.R.M. (from Hoodoo), and they are in turn followed seamlessly by one of her lesser-discovered gems, the beautiful So Am I (from Essex), the robustly rhythmic My Best Day (a song she co-wrote with Ian Broudie for The Lightning Seeds’ third album, Jollification), the dutifully sombre tones of World Without End, the album rounding out on the quietly melodious This House (from Hoodoo), a soulful rendition of her beloved Love Resurrection (from Alf), coming to a close on the nostalgically-hued You Don’t Have To Go (from Hometime).

Alison has created the artwork for the new album and Cooking Vinyl are going very BIG with this release with an enormous array of colored vinyl and special editions. Amazon in the UK have ‘alternative artwork’ versions of the CD edition and 2LP orange vinyl, both signed, for example.

Additionally Rough Trade in the UK are offering the indies black and white splatter 2LP colored vinyl edition, in addition to a 2LP white vinyl version (which appears to be the standard version), while HMV have a yellow and back smoke vinyl 2LP set and The Sound of Vinyl have an exclusive black and white marbled vinyl.

The official Alison Moyet shop adds a turquoise marble 2LP vinyl to the list and has bundles with signed prints. That’s six different colored vinyl already with possibly more to come!

www.alisonmoyetmusic.com

Title - Motown Sound Collection [Even More New Reissues]
Artist - Various

Elemental Music’s The Motown Collection is a continuing series of long-playing vinyl reissues of crate digger favorites from the Detroit-bred soul music giant Motown Records catalog. All releases will replicate the ‘60s and ‘70s LPs’ bold sound and 12-by-12 full-color packaging. The Motown Sound Collection continues with titles scheduled for release through early 2025.

Elemental will release a total of 22 titles through the end of 2024, including music by such storied Motown stars as Smokey Robinson (and the Miracles), The Four Tops, Marvin Gaye (both solo and with duet partner Mary Wells), The Jackson 5, Eddie Kendricks, Gladys Knight & the Pips, and The Undisputed Truth.

“As a rule of thumb, we always try to reissue the music that we love. That’s our priority. With the Motown Series, we wanted to take a deep dive into the label’s history and to reissue some more obscure titles,” describes Elemental Music Founder and producer of the Motown Sound Collection Jordi Soley.

“For many of the albums we’ll be putting out throughout 2024 and into 2025, it will be their first reissue since their original release. It’s our way of showing some love to Motown’s legacy.”

The collection continues now with three more classics in the form of Marvin Gaye’s When I’m Alone I Cry (Mono ), Eddie Kendricks’ People ... Hold On, and the Four Tops’ self-titled Four Tops (Mono) on November 15th, 2024.

2024 marks the 60th anniversary of Marvin Gaye’s third album for Motown. Released in 1964, When I’m Alone I Cry represents Gaye in the prime of his jazz crooner period when he also released Hello Broadway and A Tribute to the Great Nat King Cole.

When I’m Alone is stocked with a terrific collection of standards. Perhaps the best-known tune is the Lerner/Loewe classic “I’ve Grown Accustomed to Her Face” from the musical My Fair Lady.

However, Gaye also delved into the American Songbook with renditions of songs like “I Wonder” (a hit for both Louis Armstrong and Brenda Lee), “I Don’t Know Why (I Just Do)” (covered by everyone from Jerry Lee Lewis to Tommy Dorsey), and “Because of You” (Tony Bennett’s first big hit).

He covered several songs done by Billie Holiday: “I’ll Be Around,” “You’ve Changed,” and “When Your Lover Has Gone.” When I’m Alone I Cry captures Gaye at a unique moment in his illustrious career. Just a year after the album’s release, he put out “How Sweet It Is To Be Loved By You,” which established him as a superstar soul vocalist.

This reissue is coming out in a mono version.

When I’m Alone I Cry (Music Video)

SIDE ONE:
1. You’ve Changed
2. I Was Telling Her About You
3. I Wonder
4. I’ll Be Around
5. Because Of You

SIDE TWO:
6. I Don’t Know Why
7. I’ve Grown Accustomed To Her Face
8. When Your Lover Has Gone
9. When I’m Alone I Cry
10. If My Heart Could Sing

As I am sure most all of you know by now, Marvin Gaye continued stubbornly to try and mold himself as a jazz vocalist virtually from the very off. Met with critically mixed reviews, this album has highlights such as the big band opening track, You’ve Changed, but overall feels like a poor man’s Nat King Cole.

I never personally felt like jazz was where Gaye strives the best. I mean, sure, he has a great voice for the genre (for any genre, most likely), but that can only do so much to make a really good album. Instrumentally though, Marvin’s music improves here from the previous albums, but just doesn’t seem to fit seamlessly with the mood, so to speak.

But inclusive of brooding vocals and arrangements by such big names as Melba Liston, Jerome Richardson and Ernie Wilkins, the album did show us a deeper artist, presaging the mature Marvin later heard on Vulnerable, recorded in 1977.

The other pair of notable tracks here are I’ll Be Around and I Wonder, but ultimately, this would represent his final, some might say unsuccessful, venture into this genre of music before his beautifully melodic voice would fully come to the fore within our soulful musical world.

People ... Hold On, the sophomore breakout album by former Temptations vocalist Eddie Hendricks, was released in May 1972.

Woven into its community-inspired motif was Girl You Need a Change of Mind, that, with its extended performance and well-placed break, is considered one of the first modern disco tracks.

Edited for radio play, the song hit #13 on the Billboard R&B chart. The album, which also featured the dance classic Date With The Rain, set the pace for the following Kendricks albums.

The album was recorded in the Hitsville U.S.A. studio, and it was one of the last project completed there before Motown’s move to Los Angeles. It marked a departure from Kendricks’ previous pop-oriented sound, embracing a more socially conscious and urban style.

My People ... Hold On (Music Video)

SIDE ONE:
1. If You Let Me
2. Let Me Run Into Your Lonely Heart
3. Day By Day
4. Girl You Need A Change Of Mind
5. Someday We’ll Have A Better World

SIDE TWO:
6. My People … Hold On
7. Date With The Rain
8. Eddie’s Love
9. I’m On The Sideline
10. Just Memories

People … Hold On also came at a significant time in Eddie Kendricks musical career. One of the founding members of the Temptations, Kendricks, left the band in 1971. People…Hold On, Kendricks’ second solo outing, saw the singer shifting away from the poppy sound of his past to grittier, more political music that one critic described as “the sound of the street.”

Critical to this shift was Kendricks’ discovery of a young Washington DC-based group, The Young Senators (pioneers in what is now known as the Go-Go music scene), who backed him on this 1972 record. They helped to inject a powerful rhythm foundation to Kendricks’ songs that popularized them on the dance floor. The centerpiece track, “Girl You Need a Change of Mind,” was hailed by All Music Guide as “nothing short of an epic precursor to the extended four-on-the-floor numbers that would soon be christened as ‘disco.’”

At the same time, music writer Sam Armstrong recently proclaimed that People…Hold On “remains one of his finest releases, fusing heartfelt soul with meaningful social commentary on songs.” The album’s impact is evident, too, in the number of times its tracks have been sampled over the years by artists such as Erykah Badu, Lil Wayne, and Drake.

The 1972 release was pivotal for Motown as it was among the final albums recorded at the legendary Hitsville U.S.A. studio before the label relocated to Los Angeles.

If ever there was a song written to compete with Curtis Mayfield’s “If There’s Hell Below (We’re All Gonna Go)”, it’s the masterful title track of this neglected & forgotten classic album. It’s this stunning, utterly compelling song – one of the first to exhibit genuine rapping over a live studio band - that anchors the album, propelling the rest of the material.

That material includes the social commentary of “Someday We’ll Have a Better World”, smooth soul groove of “I’m On The Sideline” & “If You Let Me” and dance-oriented celebration of “Girl You Need A Change of Mind”, which features a killer horn section and vocal delivery clearly inspired by O’Jay’s recordings from the same period. While this material doesn’t quite scale the heights that Mayfield was able to achieve on his debut album, it’s all still excellent listening.

Once the lead falsetto vocalist for vocal group The Temptations, Eddie Kendricks left the group at the end of the 60’s to leverage the greater creative opportunities afforded by a solo career – in much the same way Mayfield had done upon leaving the Impressions. His desire to seek greater artistic freedom also inspired by the exploits of Motown label mates Marvin Gaye & Stevie Wonder, during a time when the artistry on offer from so many black musicians in the album format had never been greater.

Kendricks released a number of solid albums after this one, scoring his biggest hit with 1973’s “Keep On Truckin’”. Nothing he did subsequent however was able to match this inspired second solo effort. It remains one of those all-too-often overlooked touchstone albums that helped usher in the transition of black music from the soulful sounds of the 60’s to both the harder-edged funk of the early 70’s and the heavily orchestrated sounds of the mid-70’s that eventually morphed into disco.

The final album released this month is the Four Tops’ self-titled album, which turns 60 in January 2025 and remains among the best debuts ever recorded. Ron Wynn at All Music Guide declared, “You’d be hard-pressed to find two better singles on a debut album than ‘Ask the Lonely’ and ‘Baby I Need Your Loving.’”

Motown’s elite songwriting trio penned both songs – Holland-Dozier-Holland – and several other tracks came from two more Motown ace tunesmiths, Ivy Jo Hunter and William “Mickey” Stevenson. Distinguished by the sublime baritone vocals of Levi Stubbs, the Four Tops would go on to a long, successful career, but it all started with this album.

As the esteemed critic Dave Marsh wrote for Rolling Stone: “From their first hit “Baby I Need Your Loving,” the Four Tops was one of the grandest things about Motown.” Pioneering ‘60s rock critic Lillian Roxon offered up similar high praise “just as Motown helped to establish the Four Tops, the Four Tops helped to establish Motown.” The public recognized this greatness as the album spent three weeks on top of the Billboard R&B Album Chart in the summer of ’65.

Baby I Need Your Loving (Music Video)

SIDE ONE:
1. Baby, I Need Your Loving
2. Without The One You Love (Life’s Not Worth Living)
3. Where Did You Go
4. Ask The Lonely
5. Your Love Is Amazing
6. Sad Souvenirs

SIDE TWO:
7. Don’t Turn Away
8. Tea House In China Town
9. Left With A Broken Heart
10. Love Has Gone
11. Call On Me

For me, the Four Tops’ self-titled debut album showcases a lot of potential for the group which subsequently resulted in some really great music to come. Not the longest of albums, sure, it takes on a melancholic atmosphere that is enforced primarily through the vocal performances, but trust me when I say that all the vocals are simply fantastic and on point throughout.

Taking on lead, Levi Stubbs puts a lot of passion and emotion in his deliveries that, when backed with the often sombre background vocals from the other three members, and even frequent female vocals, makes it all hit even harder.

I also like the fluid instrumentals and agree with others over the years that the times where strings are used are definitely the stand-out tracks, as they match the vocals and even the mood coming from the writing really well.

So, yes, the self-titled debut is very good and definitely worth your time, but for anyone looking to get deeper into the group than just the radio hits, the sophomore outing is forever where it’s at for me.

I guess my only issue, per-say, with this album was that I thought while it started extremely well, the rest of the track list didn’t keep the momentum going, even though it is strong throughout, of course.

These unforgettable Hitsville titles are part of a continuing series of long-playing vinyl reissues of crate digger favorites from the Motown Records catalog. All releases will replicate the ‘60s and ‘70s LPs’ bold sound and 12-by-12 full-color packaging. The Motown Sound Collection will continue with titles scheduled for release through early 2025.

The final batch of forthcoming titles arrive December 13th and include Gladys Knight & the Pips’ Neither One of Us (Wants to Be the One to Say Goodbye), The Temptations’ Solid Rock, and the Undisputed Truth’s album.

Founded in 2012, Elemental Music specializes in releasing newly discovered and out-of-print recordings, primarily jazz, blues, and soul. These recordings are meticulously curated and reissued with love.

www.elemental-music.com

www.motownrecords.com

Title - Christmas Once More [Vinyl]
Artist - The Carpenters

A&M/UMe celebrates the upcoming holidays in a merry big way with the release of the Carpenters’ Christmas Once More.

It is a most wondrous, and all-new Christmas collection featuring 16 timeless Carpenters holiday classics personally curated by Richard Carpenter.

This newly remixed and remastered 16-track set includes perennial Carpenters holiday favorites such as “Sleigh Ride,” “(There’s No Place Like) Home For The Holidays,” Richard’s own “Merry Christmas, Darling” featuring the Royal Philharmonic Orchestra, and many more.

All 16 tracks, which have been culled from the Carpenters’ most cherished holiday albums, are available now in multiple formats, including CD, black vinyl, limited-edition gold vinyl, digital download, streaming, and ATMOS.

Side A:
1. It Came Upon A Midnight Clear
2. Happy Holiday
3. The Christmas Waltz
4. Sleigh Ride
5. It’s Christmas Time / Sleep Well, Little Children
6. Have Yourself A Merry Little Christmas
7. Christ Is Born
8. Santa Claus Is Coming To Town

A fitting tribute to Karen Carpenter’s enduring legacy and the duo’s lasting contribution to Christmas music, putting the vinyl LP on the turntable, my favorite thing to do on a daily basis, Side A opens on the gloriously harmonized It Came Upon A Midnight Clear, the brightly swirling and twirling Happy Holiday and the dulcetly sung The Christmas Waltz, and they are backed by a slower version, at first, of Sleigh Ride than we are used to, the sprightly It’s Christmas Time / Sleep Well, Little Children, an aching yearn that drives Have Yourself A Merry Little Christmas, rounding out on the balanced balladry of Christ Is Born and the low slung, blues-jazz appeal of Santa Claus Is Coming To Town.

Side B:
1. Merry Christmas, Darling (R.P.O. Version)
2. The Christmas Song (Chestnuts Roasting On An Open Fire)
3. (There’s No Place Like) Home For The Holidays
4. Little Altar Boy
5. The First Snowfall/Let It Snow! Let it Snow! Let it Snow!
6. My Favorite Things
7. White Christmas
8. Ave Maria

Flipping the vinyl LP over and dropping the needle, up next on Side B is the lushly orchestrated Merry Christmas, Darling (R.P.O. Version), the sweeping elegance of The Christmas Song (Chestnuts Roasting On An Open Fire), and a refined courtliness within (There’s No Place Like) Home For The Holidays, and they are in turn backed seamlessly by the Choir-imbibed Little Altar Boy, the playfully all-embracing The First Snowfall/Let It Snow! Let it Snow! Let it Snow!, the melodious, euphorically-driven instrumental My Favorite Things, coming to a close on the beautiful, lyrically-honed White Christmas and a simply stunning, gossamer-laden Ave Maria.

The key to the Carpenters’ Christmas sound would be found by way of the excellence in their orchestral arrangements. Richard Carpenter did some of them himself, while others were assigned to the gifted Peter Knight, who had collaborated with Carpenters before, as well as to the estimable veteran Billy May.

“With Karen’s marvelous leads,” Richard has written, “combined with an oversize studio orchestra and chorus, terrific arrangements, and timeless music, Christmas Portrait was, and is, an almost incomparable Christmas album.” For his part, Richard would downplay his own contributions to Christmas Portrait, even suggesting it should have been billed and released as a Karen Carpenter solo album — but he was the one who conceived, produced, and saw this innovative project all the way through to its splendid completion.

In fact, it’s Richard’s voice that begins the proceedings on Christmas Once More, with his twelve-voice, multi-overdubbed arrangement of “It Came Upon A Midnight Clear” leading into “Happy Holiday,” a song that ends on F# above middle-C — the exact same note Karen then sings to begin the irresistible “Christmas Waltz.” Observed Richard, “I like to connect these things when I can.”

Enough material was recorded during the Christmas Portrait sessions in 1978 to allow for the eventual release of a second Carpenters holiday album, An Old-Fashioned Christmas, in 1984, a year after Karen’s death, and it too was an international hit. Soon after, Christmas Portrait – The Special Edition combined tracks from both Carpenters’ seasonal LPs with some additional material for a sort of super-anthology that became yet another holiday perennial.

Now comes Christmas Once More, a 16-track best-of compilation from all the duo’s holiday platters. Whichever way you shake the music box, Richard and Karen’s Christmas Once More is richly satisfying.

www.carpentersofficial.com

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Title - Red Box: Anthology 1980-1990 [4CD]
Artist - Red Box

Red Box: Anthology 1980-1990 is the first comprehensive overview of the band’s initial run which technically began with Cherry Red issuing the band’s debut single Chenko in 1983.

For this four CD box set frontman and mainstay Simon Toulson-Clarke undertook a deep dive into his archives and discovered 11 previously unreleased demos from 1980-1982.

As well as the previously unreleased audio, Simon was also able to provide a treasure trove of unseen photos from the very earliest days of the band all the way through to 1990.

Red Box initially came to prominence in the 1980s with UK Top Ten hits Lean on Me (Ah-Li- Ayo) in 1985 and For America in 1986. Both of these tracks were included on debut album The Circle & the Square in 1986 (WEA), which would be followed by 1990’s Motive (EastWest), with no further album’s forthcoming until Plenty (2010) on Cherry Red Records.

Disc One: THE CIRCLE & THE SQUARE (1986)
1. For America 2. Heart Of The Sun 3. Billy’s Line 4. Bantu 5. Living In Domes 6. Lean On Me (Reprise) 7. Chenko (Tenka-Io) 8. Lean On Me (Ah-li-ayo) 9. Saskatchewan 10. Leaders In Seventh Heaven 11. Walk Walk 12. Amen 13. Chenko (Tenka-lo) (Cherry Red 7” Version) [Bonus Track] 14. Valley (7”) [Bonus Track] 15. Saskatchewan (Alternative 7” Mix) [Bonus Track] 16. Speeches [Bonus Track] 17. Lean On Me (Ah-li-ayo) (Vera’s Husband’s Complete Mix) [Bonus Track] 18. Stinging Bee (Catmatix Mix) [Bonus Track] 19. R‘n A [Bonus Track]

Disc One contains the band’s debut album The Circle & the Square as well as seven bonus tracks that include both sides of their debut single as well as other rarities.

For me, this is one of the most original albums you could ever buy back in the day. Three of the songs - For America, Lean On Me and Heart Of The Sun - were hits in the UK and were the reason why I originally bought the album.

However, Living In Domes, Billy’s Line, Bantu, Chenko and, in particular, the Buffy Saint-Marie song Saskatchewan are a varied collection of brilliant World Music-type songs and made a change from other kinds of music (a lot of it good) which was heard at the same time.

The infectious enthusiasm of the girls and boys in the troupe behind Simon Tolson-Clarke and Julian Close, when performing, was another reason for enjoying the album, of course.

Disc Two: MOTIVE (1990)
1. Train 2. Moving 3. Hungry 4. The Clapping Song 5. Soldier Of Love 6. The Power Is Down 7. Now Ask 8. Casbah 9. Walk On My Hands 10. New England 11. Train (Hornby Mix) [Bonus Track] 12. Enjoy (Original Golden Lay Mix) [Bonus Track] 13. “Hello” He Lied [Bonus Track] 14. Train (Travellers Fare Mix) [Bonus Track] 15. Chenko (Tenka-io) (Remix) [Bonus Track]

Disc Two includes sophomore album Motive as well as five rare bonus tracks.

Now flying solo, it was a little obvious that Simon was never going to beat musical gems such as both Lean On Me and For America, singles which had made Red Box a Top Ten charting act in six years prior when he was part of a duo.

Thw story goes that he was sailing the world with his wife at the time Motive was released, and amazingly with Simon being the last to know. It turns out that a friend of his had built connections to East/West, had gained a deal, told Simon about it in an offhand way, and then had a guitar handed to him along his sailing route, so he could write new songs.

Simon was not even thinking about another Red Box album, having broken from away from Julian Close and so was travelling without any musical instruments, but did what he was told and thus we got Motive soon thereafter.

In truth, Motive holds no big, outstanding tracks, but (with the exceptions of the rather uninspired sounding ballad Soldier Of Love and the so/so New England) all of them are solid to good, or, at the very good at times.

Disc Three: 12” & ALTERNATIVE MIXES
1. Saskatchewan (Crew’s Testing Mix) 2. Chenko (Tenk-Io) (Pow-Wow Press Mix) 3. Lean On Me (Ah-li-ayo) (Vera’s Husband’s Mix) 4. Lean On Me (Ah-li-ayo) (Dogmatix Mix) 5. For America (Bazooka Mix) 6. For America (Boys Own Mix) 7. Heart Of The Sun (Slash And Burn Mix) 8. Chenko (Tenka-io) (No Reservations Mix) 9. Train (Fantasy Island Mix) 10. Train (Mr Chandra Is Upstairs Mix) 11. Enjoy (Paul Oakenfold Future Mix) 12. Ain’t Got No... I Got Life

The third disc is a most wondrous collection of their 12” and Alternative Mixes and features 12 simply brilliant mixes of some of their top songs.

Stand out cuts here are full and plenty, and to my mind are top loaded here, as they are the opening six tracks; which are just an amazing way to start your day when left to play out!

Saskatchewan (Crew’s Testing Mix), Chenko (Tenk-Io) (Pow-Wow Press Mix), two mixes of Lean On Me (Ah-li-ayo) (Vera’s Husband’s Mix and Dogmatix Mix) are just a sunny smile of a day to still hear, as are two mixes of For America (Bazooka Mix and Boys Own Mix).

Disc Four: 8 AND 16 TRACK DEMOS (1980-82) (ALL TRACKS PREVIOUSLY UNRELEASED)
1. Age Of Moods 2. Surrounded 3. Carry Me Home 4. Living In Domes 5. Change My Heart 6. Demons In My Pockets 7. Superbowl 8. One For The Curve 9. In Your Name 10. Black & Blue 11. Tonight

The fourth disc is a collection of eleven 8 and 16 Track Demos from between 1980 and 1982, and with all tracks previously unreleased, this disc is assuredly one of the most incredible Red Box gems to behold here.

Stand out tracks, in my humble opinion, include the pacy rocker of an opener in Age Of Moods, the free flowing pop synth delights within Carry Me Home, the jaunty pop-rocker Demons In My Pockets, and the euphorically charged One For The Curve.

Red Box - Anthology 1980-1990 4CD [Trailer]

Frank Chickens box set - Ninja Legends 1983-1989 [Trailer]

Title - Frank Chickens: Ninja Legends 1983-1989 [4CD]
Artist - Frank Chickens

Frank Chickens: Ninja Legends 1983-1989 is a wondrous 4CD box set focusing on their 80s recordings and includes the well-known albums We Are Frank Chickens, Get Chickenized, Club Monkey.

It also includes an additional compilation of BBC live sessions recorded for John Peel, Richard Skinner and Janice Long.

Frank Chickens are a legendary Japanese punk pop performance group with a cult following in the UK. Started as a duo with Kazuko Hohki and Kazumi Taguchi, now the group has expanded to more than 20 members.

Influenced by pop, punk, and traditional music particularly Japanese Minyo (folk songs), Okinawa music and Enka, Frank Chickens set out to deflate the myths separating East and West, and men and women, while showing the absurdity of the dual stereotype of Japanese women as submissive geisha or mysterious femme fatales.

They were John Peel favourites, had an independent chart hit with ‘We Are Ninja’, won the Foster Comedy God Award in 2010, released five albums and toured worldwide. Recently they have become the power behind Ura Matsuri – the festival showcasing ESEA (East And South East Asian) artists in the UK.

Disc One: WE ARE FRANK CHICKENS (1984)
1. Cheeba Cheeba Chimpira 2. Mothra 3. Green Banana 4. Madam Fatal 5. We Are Ninja 6. Yellow Detective 7. Shellfish Bamboo 8. Pikadon 9. We Are Frank Chickens 10. Sake Ballad 11. We Are Ninja (Re-Cut Version) (12”) [Non-Album Bonus Track] 12. Fujiyama Mama [Non-Album Bonus Track] 13. Ninja Dub [Non-Album Bonus Track] 14. Blue Canary [Non-Album Bonus Track] 15. China Night [Non-Album Bonus Track] 16. Japanese Rhumba [Non-Album Bonus Track] 17. Ari Lang [Non-Album Bonus Track]

I was a New Waver and a sophomore in high school (1984) when I found this little gem in the Import vinyl section of my local tower records. I had no idea who the hell Frank Chickens were, or what the music contained on the album would sound like, but man was I blown away when I got this home and onto the turntable!

I thought the album cover was cool and this is what made me originally want to buy the album. These guys, I guess I should say these girls (the two band members are women) were definitely the sound I was looking for back then. Anyway, this remained one of my very favorite new wave bands for many years and I still enjoy listening to this and playing it for people now and getting a reaction out of them.

If you like keyboard, synthesized music you will like this. The hit single off this album was We are Ninja which got played quite a bit at dance clubs over the years, and deservedly now gets a new life within the ears of a whole new generation thanks to Cherry Red Records.

Disc Two: GET CHICKENIZED (1987)
1. We Say You Say 2. Sacred Marriage 3. Street Angels, Tokyo 4. Two Little Ladies 5. Solid Life 6. Japanese Girl 7. Island Inside Island 8. Young Summer 9. Chicken Ondo 10. Yellow Toast 11. One Million Hamburgers 12. Monster 13. The Dark 14. House Of Ninja 15. Yellow Toast (Burnt Mix) (12”) [Non-Album Bonus Track] 16. One Million Hamburgers (Mac Mix) (12”) [Non-Album Bonus Track]

What if Japanese city pop met no wave? Neither in your wildest dream such occurrence could be real, but let’s make things clear. Frank Chickens could have been possibly forerunners for several famous alternative band, Cibo Matto on top of all, but sure had a development on their own.

The record came out in 1987 on the British label Flying Records and showed a different side of the project, with a major focus on the so-called synth wave counterculture, still maintaining a certain Avant feel.

With original conspirator Steve Beresford still on board, the band was propelled in the studio by another key figure of the London underground: journalist, composer and producer David Toop.

Being John Peel’s favorite for a while, the band built a cult following retaining some absurd live performances, well known for their idiosyncratic choreography and quite a bit of that is still part of my memory from their live performances of some of these very same sophomore album tracks.

Disc Three: CLUB MONKEY (1988)
1. Club Monkey 2. Waiting For A Dog 3. Burn That Body 4. Revolution 5. Night Drain 6. Feed Me 7. Jackie Chan 8. Shaken By God’s Hand 9. M.Y.T.H. 10. Hey Dead 11. Club Monkey Reprise 12. Do The Karaoke

Always in danger of being viewed strictly as a novelty act, Frank Chickens manage to avoid such trappings by remaining uniquely bizarre. Club Monkey tells a story about “Monkey People” who eat dogs as a drug and burn dead bodies so they can revive them as ghosts!

After repression by the English squashes these time-honored traditions, they plot a revolution, to be led by a kung fu movie star. Got that? There might be something in there about animal rights; if so, it’s a lot more amusing than a similar message from Morrissey. Musically, the Chickens offer the same oddball mélange as earlier albums, and the lyrics are as farcical as ever (which is a GREAT thing, trust me).

Disc Four: BBC LIVE SESSIONS
BBC JOHN PEEL SESSION 16th MAY 1983 1. We Are Ninja
BBC JOHN PEEL SESSION 28th SEPTEMBER 1983 2. Fujiyama Mama 3. Shellfish Bamboo
BBC JOHN PEEL SESSION 14th MARCH 1984 4. Blue Canary 5. Yellow Toast
BBC RICHARD SKINNER SESSION 26 JULY 1984 6. Black Ship 7. We Are Frank Chickens
BBC RICHARD SKINNER SESSION 14TH NOVEMBER 1984 8. Green Banana 9. Pikadon 10. We Say You Say
BBC JOHN PEEL SESSION 5th MARCH 1985 11. China Night 12. Ari Lang 13. Japanese Rumba 14. Sake Ballad
BBC JANICE LONG SESSION 31 JULY 1985 15. Yellow Detective 16. Madam Fatal
BBC JOHN PEEL SESSION 5TH AUGUST 1986 17. Japanese Girl 18. Sacred Marriage 19. Chicken Ondo
BBC JOHN PEEL SESSION 10TH JULY 1989 20. Jackie Chan 21. Do The Karaoke

The fourth disc is a collection of various BBC sessions and these, quite possible, are the true musical gens of this four-disc collection, my friends!

Stand out tracks, in my humble opinion, include, well, everything from the John Peel sessions - which is about 80% of this disc, so, you are welcome - but also the two tracks from the Janice Long sessions (Yellow Detective and Madam Fatal) are also absolute killers.

Title - Sing Wistle Tunes: A Tribute to John Entwistle
Artist - Ex Norwegian And Friends

Attention, rock aficionados and unsung hero enthusiasts! Sing Wistle Tunes isn’t just another tribute album – it’s what happens when you unearth John Entwistle’s buried songwriting treasures and polish them with a psychedelic power pop sheen.

Ex Norwegian leads this musical excavation, transforming 17 Entwistle gems into dazzling new artifacts. Cousin Kevin gets a personality makeover, while 905 time-travels to a parallel universe where The Who joined forces with Big Star’s Radio City.

But wait – this isn’t a solo act. SUPER 8 hijacks Boris The Spider for a joyride, while God Bless The Evil Child gives Fiddle About an unholy makeover. John Howard, Fernando Perdomo, Nick Frater, Keith Smart, and Mark Johnston join the expedition, each unearthing hidden facets of The Ox’s songwriting brilliance.

From The Who’s B-sides to Entwistle’s solo ventures, tracks pulsate with Moon-esque drum flourishes and classic rock DNA yet feels fresher than tomorrow’s headlines. Whiskey Man from A Quick One gets a double shot of reinvention, while It’s Your Turn from 1982’s It’s Hard plays by entirely new rules.

1. My Size [Ex Norwegian]
2. 905 [Ex Norwegian]
3. Apron Strings [Ex Norwegian]
4. It’s Your Turn [Ex Norwegian]
5. Cousin Kevin [Ex Norwegian]
6. Fiddle About [God Bless The Evil Child]
7. Peg Leg Peggy [Ex Norwegian]
8. Whiskey Man [Ex Norwegian]
9. My Wife Ex Norwegian]
10. What Are We Doing Here? [Ex Norwegian]
11. When I Was A Boy [Ex Norwegian]
12. The Window Shopper Ex Norwegian]
13. Boris The Spider [Super 8]
14. Talk Dirty [Ex Norwegian]
15. Doctor Doctor [Ex Norwegian]
16. I Wonder [Ex Norwegian]
17. I Believe In Everything [Ex Norwegian]

This expertly-sculpted new recording opens on five from Ex Norwegian, with the jaunty rocker My Size (from his solo 1971 album Smash Your Head Against the Wall) leading the way, backed by the drum-led 905 (from The Who’s 1978 album Who Are You), the rhythmic rock of Apron Strings (from his 1972 album Whistle Rymes), and both the pop-rocker It’s Your Turn (from The Who’s 1982 comeback album It’s Hard) and the harmonic Cousin Kevin and God Bless The Evil Child’s trashingly good rendition of Fiddle About (both from The Who’s 1969 rock opera Tommy), before two more from Ex Norwegian: the rambunctious Peg Leg Peggy (from his 1973 solo album Rigor Mortis Sets In) and the joyfully sculpted, and relatively hidden early Who 1966 gem Whiskey Man.

It continues onward with another quartet from Ex Norwegian, beginning with the free wheeling My Wife (from The Who’s brilliant 1971 rockumentary film The Kids Are Alright) and then we get the beautiful piano ballad What Are We Doing Here? (from his 1971 solo album Smash Your Head Against the Wall), the uproarious When I Was A Boy (the original B-side of their 1971 single Let’s Take Action) and the melodic pop-rock of The Window Shopper (another solo track from Whistle Rymes), before we get SUPER 8’s dutiful Boris The Spider (from The Who’s 1966 album A Quick One), the remaining tracks all Ex Norwegian: the propulsive Talk Dirty (from his 1981 solo Too Late the Hero), the guitar-led trip that is Doctor Doctor (another one from The Who’s A Quick One), the collection rounding out on the rangy I Wonder (another from his solo Whistle Rymes), closing on the foot-tapper I Believe In Everything (yet another from his solo Smash Your Head Against the Wall).

Sing Wistle Tunes doesn’t just sing – it howls, whispers, and everything in between. It’s not a nostalgia trip; it’s a teleportation device to a world where Entwistle’s compositions rule, but the landscape has gone beautifully, brilliantly bizarre.

Title - Pull The Plough That Furrows Deepest
Artist - Roger Knott

Roger Knott’s Pull The Plough That Furrows Deepest is a musical journey spanning five decades, distilled into 14 exquisite tracks. This album seamlessly blends Knott’s early 2000s compositions with reimagined gems from his 70’s Lifeblud era, creating a tapestry that’s both nostalgic and startlingly fresh.

From the tender Summer Flower to the haunting Waxing Of The Moon, Knott tills rich musical soil, yielding a crop that defies time. Familiar tunes like Bridge and So Be It blossom anew alongside other revisited classics, showcasing Knott’s enduring artistry.

Recorded between 2017 and 2021 and between Nashville and the UK, this album isn’t just a retrospective; it’s a living, breathing evolution of British folk-rock. It’s a sonic almanac, charting the growth of a storied career while seeding the ground for what’s to come. Step into Knott’s musical fields, where the furrows run deep and every track sings of seasons past and future.

1. Pathway
2. Summer Flower
3. Rescue
4. Of Hatred’s Hand
5. Waterside
6. City Wheels
7. Strange Powers
8. The Great Lost Love
9. Bridge
10. Swallows Are Leaving
11. Raven’s Wing
12. Waxing Of The Moon
13. So Be It
14. Man Of War

This beautifully curated new recording opens on the light and breezy Pathway and the low slung Summer Flower, and then we get the laid back rocker Rescue, the ornately sewn Of Hatred’s Hand, the gently cascading Waterside, before both the melodious City Wheels and the pleasing Strange Powers are brought forth.

Along next is the pop-rocker The Great Lost Love and the free flowing Bridge, and they are in turn followed by the rhythmic elegance that drives Swallows Are Leaving, the impassioned Raven’s Wing, the delicately-hued Waxing Of The Moon, rounding out on the gently-paced So Be It, coming to a close on the rousing guitar piece Man Of War.

Title - Yesterday’s Sunshine Today
Artist - Various

Rediscover the magic and let the ultimate Nirvana (UK) tribute expand your psychedelic horizons!

From 1967 to 2024: Nirvana’s legacy lives on, with some global psychedelic disciples reimagining the classics. It also includes Patrick Campbell-Lyons’ personal insights into the project.

A sonic journey from Swinging London to the far reaches of modern psych, this is not just a reissue, it is a resurrection of the Nirvana (UK) spirit, now with an added dose of 21st-century cosmic consciousness.

Warning: May cause spontaneous flower power outbreaks and an irresistible urge to paint everything in rainbow hues!

Don’t let this magical mystery tour pass you by. Whether you’re a longtime devotee or a curious newcomer, this expanded edition is your golden ticket to the timeless world of Nirvana (UK).

1. Tiny Goddess [Constantine]
2. Wings Of Love [Echo Train]
3. In The Courtyard Of The Stars [The Watch Brigade]
4. You Can Try It [8x8]
5. All Of Us (The Touchables) [Costas Stergiou]
6. Flowers For Friday [The Clockwork Flowers]
7. St. John’s Wood Affair [St John’s Wood Affair]
8. Rainbow Chaser [Mikah Wilson & Peaches In Honey]
9. Pentecost Hotel [Olaf Putker]
10. Black Flower [Talk]
11. Aline Cherie [Ben Reed]
12. Busy Man [Nick Capaldi]
13. Lonely Boy [Wyatt Starr]
14. Trapeze/Requiem to John Coltrane [Pisces People]
15. All I Do [The Absorbus Machine]
16. Pentecost Hotel [Henry Priestman]
17. Medley: The Show Must Go On/Frankie The Great/I Believe In Magic [Dor Koren]
18. Rainbow Chaser [Jacco Gardner]
19. 1999 [John Cavanagh]
20. Flashbulb [Ex Norwegian]
21. Darling Darlane [Super 8]
22. The World Is Cold Without You [John Howard]
23. Hello God [Nirvana]

This vibrantly endowed new recording opens on the harpsichord delights within Tiny Goddess [Constantine], the flourishing Wings Of Love [Echo Train], the beautifully harmonized In The Courtyard Of The Stars [The Watch Brigade] and the languishing You Can Try It [8x8], and then we are brought forth the atmospheric All Of Us (The Touchables) [Costas Stergiou], the jangly Flowers For Friday [The Clockwork Flowers], the veritably shimmering rock of St. John’s Wood Affair [St John’s Wood Affair], the gently strummed Rainbow Chaser [Mikah Wilson & Peaches In Honey], and then comes the glorious hipsway of Pentecost Hotel [Olaf Putker] and both the soft psych rock, Bowie-esque Black Flower [Talk] and the hushed organ-imbibed Aline Cherie [Ben Reed].

Along next is the jolly pop bounce of Busy Man [Nick Capaldi], the foot-tapper Lonely Boy [Wyatt Starr], the simply beautiful Trapeze/Requiem to John Coltrane [Pisces People], and they are in turn backed by the late night, smokey jazz club appeal of All I Do [The Absorbus Machine], the joyful Pentecost Hotel [Henry Priestman], a quite marvelous Medley: The Show Must Go On/Frankie The Great/I Believe In Magic [Dor Koren] and the sterner synth fare of Rainbow Chaser [Jacco Gardner], the collection rounding out on the softly sculpted 1999 [John Cavanagh], the dramatic flare of Flashbulb [Ex Norwegian], the all-embracing Darling Darlane [Super 8], closing on a couple of Beatles-esque cuts in The World Is Cold Without You [John Howard] and rocker Hello God [Nirvana].

It comes inside a luxurious 350g cardboard gatefold digifile - a feast for eyes and ears - along with an 8-page booklet: Photos and tales from the psych-rock frontlines of all artists involved.

It also contains 4 exclusive bonus tracks, including: • Nirvana reborn! A brand-new 2024 recording by Patrick Campbell-Lyons & Alex Spyropoulos • Full, unedited versions • 3 additional covers not found on the original vinyl release.

Title - Studio 3
Artist - Rogers & Butler

Step into the hallowed halls of Abbey Road’s Studio 3, where Rogers & Butler have conjured up a rock ’n’ roll séance that would make the ghosts of Beatles past nod in approval.

Studio 3 isn’t just an album title; it’s a time machine disguised as 12 tracks of pure audio alchemy. Edward Rogers and Steve Butler, the dynamic duo of transatlantic rock, have distilled the essence of 60’s and 70’s nostalgia and spiked it with a shot of modern moxie.

Recorded in a whirlwind two-day session, this album captures lightning in a bottle faster than you can say A Day in the Life. With Don Piper wielding both producer’s pen and guitar, Andy Lewis laying down bass lines smoother than a London fog, and Ian Button providing drum beats that could wake Ringo from a deep slumber, Studio 3 is what happens when musical chemistry goes nuclear.

From the Carnaby Street swagger of Soho Fantasy to the psychedelic spiral of Scarlett Letter, each track is a portal to rock’s golden age, reimagined for ears that have grown weary of over-polished pop. This isn’t just a nostalgia trip; it’s a guided tour through the best bits of rock history, with Rogers & Butler as your witty, harmony-laden hosts.

1. Soho Fantasy
2. Poor Little Rich Girl
3. Jigsaw Puzzle
4. Poverty Line
5. Burned By The Sun
6. Music’s Perfect Rhyme
7. Teddy Boys
8. Farewells
9. Agree To Disagree
10. Sixpence For The Sun
11. Oh To Be A Fool Again
12. Scarlett Letter

Their brand new recording opens on the harmonica-driven, blues rocker Soho Fantasy and the melodious Poor Little Rich Girl and they are backed by the guitar-fed AOR of Jigsaw Puzzle, the jaunty Poverty Line, the free flowing Burned By The Sun, and then we get the lonesome ode sewn into the countrified ballad Music’s Perfect Rhyme.

Along next is the playfully rambunctious Teddy Boys and the languishing balladry of Farewells and they are in turn followed by the twanging rocker Agree To Disagree, the all-embracing, mid-tempo bounce of Sixpence For The Sun, the pleasing rock of Oh To Be A Fool Again, coming to a close on the atmospherically-charged of Scarlett Letter.

Rogers and Butler: Proving that when it comes to rock ’n’ roll, the Atlantic is just a puddle. Now, who’s ready for a transatlantic musical love affair?

Title - Here Come The Dowsers!
Artist - Ward White

On Here Come The Dowsers, his fifteenth release, and first with Think Like A Key Music, art-rock auteur Ward White wields his elastic range to weave compelling character vignettes in a broadly cinematic Hollywood song-cycle, hopscotching through Tinseltown history, illuminating the grime beneath the glamour.

Garnering comparisons to the likes of Bowie, Roxy Music, Neil Hannon, and Elvis Costello, White’s “Soaring, lyrical pop” (The New Yorker) is in full bloom on Here Come The Dowsers, continuing to evoke “Scott Walker’s scope with Paul McCartney’s playfulness, all while creating something singular and compelling” (MAGNET).

A-list collaborators include Grammy®-winner and Golden Globe®-nominee, John Spiker (Tenacious D, Beck, Beth Orton), Grammy®-winner, Tyler Chester (Madison Cunningham, Andrew Bird, Jackson Browne), and Mark Stepro (The Wallflowers, Butch Walker, Ben Kweller).

1. Continuity
2. Here Come the Dowsers
3. Cliffhanger
4. Our Town
5. Johnny Fontane
6. Common Thread
7. Blimp Street
8. Slow Sickness
9. Horse Operas
10. Pick Up Your Face
11. Speak, Harry

This impassioned new rocker of a new recording opens on the emboldened Continuity and the lounging title track Here Come the Dowsers, and they are followed neatly by the jaunty number Cliffhanger, the mid-tempo AOR of Our Town, and then come both the twanging guitars that drive Johnny Fontane and the playfully rambunctious Common Thread.

Along next is the melodious slow rock of Blimp Street, which is in turn backed seamlessly by the driven Slow Sickness, the pleasing rhythms within Horse Operas, the album rounding out on the rousing Pick Up Your Face, coming to a close on the low slung rocker Speak, Harry.

Rogers and Butler: Proving that when it comes to rock ’n’ roll, the Atlantic is just a puddle. Now, who’s ready for a transatlantic musical love affair?

Title - Bringing It Down To The Bass
Artist - Tony Levin

For those unaware, over the past half century, Tony Levin has been a prolific session player and one of the most active live performers on the planet. He’s contributed his talents to over five hundred albums amongst which include 15 with Peter Gabriel and 18 with King Crimson (counting live, studio, and compilations) alongside contributions to the work of John Lennon, Alice Cooper, Lou Reed, Herbie Mann, Paul Simon and many others.

On tour, he’s traveled the World many times over with the aforementioned King Crimson, Peter Gabriel, and several of his own bands including Stick Men.

This Fall, he’ll stage 65 performances in North America as a member of BEAT, celebrating King Crimson’s ‘80s repertoire alongside Adrian Belew, Steve Vai and Danny Carey interpreting “Discipline, Beat and Three of a Perfect Pair.”

Levin’s seventh solo album, and his first since 2007, Bringing It Down To The Bass is an autobiography of sorts, with the themes drawn from Levin’s musical life. It features a myriad of collaborators from his half-century-plus on the road and in the studio with Peter Gabriel, King Crimson and many, many others.

1. Bringing It Down to the Bass [5:34]
2. Me and My Axe [4:22]
3. Road Dogs [5:30]
4. Uncle Funkster [2:31]
5. Boston Rocks [5:14]
6. Espressoville[4:59]
7. Give the Cello Some [3:43]
8. Side B / Turn It Over [2:49]
9. Beyond the Bass Clef [4:41]
10. Bungie Bass [5:27]
11. Fire Cross the Sky [5:28]
12. Floating in Dark Waters [3:37]
13. On the Drums [4:44]
14. Coda [2:01]

With the list of important recordings to which Tony has significantly contributed to being nothing but astonishing, his very own brand new solo recording opens on the forcefully rhythmic, titular Bringing It Down to the Bass and the achingly luxuriant Me and My Axe, and they are followed by the fervently-crafted Road Dogs, the aptly-titled, veritably expediently crafted Uncle Funkster, and the veritably translucent, shimmering Boston Rocks, and then come both the gloriously upbeat confidence of Espressoville and the funky, vocalized Give the Cello Some.

Along next is the organically strewn sounds and vocals that drive Side B / Turn It Over and a stoically-imbibed Eastern stillness that embeds itself within Beyond the Bass Clef, and they are in turned backed by the majestically impassioned Bungie Bass, the impassioned spoken word of Fire Cross the Sky, the articulate Floating in Dark Waters, the set rounding out on a harmoniously-vocalized list of drummer names within On the Drums, closing on the ambient decadence of Coda.

Features a Murderer’s Row of guest musicians including Robert Fripp, Vinnie Colaiuta, Earl Slick, Mike Portnoy, Steve Gadd, Jerry Marotta, Gary Husband, L. Shankar, Pete Levin, Jeremy Stacey, David Torn, Pat Mastelotto, Larry Fast, Steve Hunter, Manu Katche, Alex Foster, Dominic Miller, Markus Reuter, Collin Gatwood, Chris Pasin, Jay Collins, Josh Shpak, Don Mikkelsen.

www.tonylevin.com

Title - Flotando con el vacio
Artist - Beledo

For those unaware, New York guitarist, pianist, and composer, Beledo was born in Montevideo Uruguay and he began formal music and piano study at age six.

As the British Invasion began to take hold of airwaves around the world, influenced by the Beatles and other emerging pop rock bands, he gravitated towards and discovered a natural proficiency for guitar.

After a brief tenure with Uruguayan rock and blues super-group, Dias de Blues, Beledo pioneered the jazz-rock band, Maytreya, and later on, the mythical Siddhartha, inspired by the burgeoning jazz-fusion movement (Chick Corea, Weather Report, Soft Machine & etc.).

In 2023 he toured the US this time as a member of the legendary band Soft Machine and his third album on Moonjune, FLOTANDO EN EL VACÍO is out now and features Carles Benavent on bass, Jorge Pardo on flute, Asaf Sirkis on drums and Gary Husband on piano.

1. Djelem Djelem [7:19]
2. Rauleando [7:15]
3. De tardecita [11:10]
4. Flotando en el vacio [10:01]
5. Es prohibeix blasfemar [8:05]
6. Candombesque [6:02]
7. From Within [8:01]
8. Rodeados [16:45]

This magnificently-hued, dutifully-sculpted new recording opens on the ornately delicate, yet free-flowing at times Djelem Djelem and then brings us the spirited Rauleando, the gently frenetic De tardecita, and the sumptuous title track Flotando en el vacio.

Along next are the emboldened rhythms that pulse throughout Es prohibeix blasfemar which is in turn backed seamlessly by the joyfully upbeat melodies of Candombesque, the album rounding out on a scintillating fervor that drives From within, closing on the all-encompassing, pleasingly pieced Rodeados.

Versed in classical theory, composition and technique, adept in the traditional styles of his birthplace, drawing inspiration from vast and diverse modern musical forms, Beledo has earned his place among the most sophisticated, versatile, and gifted artists of our time.

Musicians:
BELEDO - electric guitar, Spanish guitar, acoustic piano, violin
JORGE PARDO - flute, tenor sax
CARLES BENAVENT - bass guitar
ASAF SIRKIS - drums

Special guests:
GARY HUSBAND - Fender Rhodes electric piano, Mimi Moog (tracks 3.5.8)
RAMÓN ECHEGARAY - candombe percussion (track 6)

www.beledo.com

Title - I Shin Den Shin
Artist - Luca Calabrese

For those unaware, I-shin-den-shin is a Japanese concept that describes a form of communication that transcends spoken words, relying on unspoken understanding, empathy, and shared feelings. The term is often translated as what the mind thinks, the heart transmits or a heart-to-heart transmission. It encapsulates the idea that emotions and thoughts can be conveyed and understood without the need for explicit verbal communication.

The concept has its roots in Eastern philosophy, particularly in Zen Buddhism and Confucianism, where the importance of nonverbal communication, intuition, and a deep connection between individuals is emphasized. Itʼs about the ability to convey meaning and understanding through subtle gestures, expressions, and shared experiences.

In a more contemporary context, i-shin-den-shin has also been used to describe certain interpersonal and artistic experiences, such as in music and other forms of art, where a strong emotional resonance is achieved between the creator and the audience, even without direct verbal explanation.

1. Dissolution [14:34]
2. Appointment with the Truth [11:42]
3. A New Reality [10:48]
4. Pure Mind (without a body) [12:22]
5. Heart to Heart [11:08]
6. Magnetic Soul [8:30]

On what is a brilliantly crafted, and heartfeltly infused new recording, it opens on the atmospheric, veritably cinematic in scope, near fifteen minute gem Dissolution and then brings us the demurely alluring Appointment with the Truth, which is in turn backed by the sheer delicate gossamer of A New Reality, an impassioned stillness within Pure Mind (without a body), rounding out on the stoically yearning Heart to Heart, closing on a glistening beauty found threaded throughout Magnetic Soul.

Furthermore, the term i-shin-den-shin can be applied in various contexts, from personal relationships to artistic expression, emphasizing the power of genuine connection and understanding that goes beyond words.

Musicians:
LUCA CALABRESE - Pocket Trumpet
NGUYÊN LÊ -Electric Guitar
MARKUS REUTER -Touch Guitar AU8, Soundscapes
MARK WINGFIELD -Electric Guitar
ALEXANDER DOWERK -Touch Guitar S8

Official Luca Calabrese Website

Title - Deerand
Artist - Quartet Diminished

For those unaware, this brand new album entitled Deerand is a Persian term which means duration of instrument’s tones.

Quartet Diminished was established in Iran in 2013 by guitarist Ehsan Sadigh. This is their fourth album, following Station Three (Hermes Records, 2021).

Their music is stylistically diverse, drawing freely from contemporary jazz, art rock, and avant-garde music. The membership has been relatively stable. Sadigh (electric guitar) has had bandmates Soheil Peyghambar (woodwinds), Mazyar Younessi (piano, voice), and Rouzbeh Fadavi (drums) on most of the group’s albums.

The instrumentation suggests many possibilities, including chamber jazz, Rock In Opposition-style art rock, and free improvisation, and the compositions have often been credited to Sadigh. But here the music is credited to the entire band, just as it was on the previous album.

The practice of adding players from outside the quartet to the sessions was also repeated: the personnel includes bass guitarist/Chapman stick bassist Tony Levin, and touch guitarist Markus Reuter–who are also given co-composer credits.

It makes for a bigger sound–the quartet is effectively a sextet most of the time–and clearly, the situation was an inspiration for all of the players. Previous albums have all been given Station numbers, but here the title Deerand comes from a Persian musical term that means the duration of an instrumentʼs tones.

1. Deerand [25:41]
2. Tehran II [14:32]
3. Mirror Side [6:37]
4. Allegro per il Ré [9:32]

With the title tune being an extended four-part suite that showcases all of the aspects of the group’s music, this meticulously-crafted new recording opens on the triumphantly soaring, majestically-hued, twenty-five minute title track Deerand and then brings us the hauntingly ethereal, at first latterly jagged and skittish Tehran II, the mesmerizingly stoic Mirror Side backs it seamlessly, the set closing out on the pulsating musical majesties brought together for the resounding Allegro per il Ré.

Musicians:
EHSAN SADIGH - guitar
MAZYAR YOUNESI - acoustic piano, chants
SOHEIL PEGHAMBARI - bass clarinet, soprano sax
ROUZBEH FADAVI - drums

Special guests:
TONY LEVIN - NS electric upright bass (Mirrorside), Chapman stick (Allegro per il Ré)
MARKUS REUTER - Touch guitar U8, soundscapes

www.quartetdiminished.com

Title - The Gathering
Artist - Mark Wingfield

For those unaware, the brand new studio album of Mark Wingfield’s album for MoonJune Records finds this most distinctive American born English guitarist in the company of Gary Husband (keyboards and drums), Asaf Sirkis (drums) with world-renowned bass players, Tony Levin and Percy Jones.

Initially recording with Husband and Sirkis as a trio in 2021 in Spain, Wingfield and MoonJune’s Leonard Pavkovic later recruited Jones and Levin to add their highly individual signature contributions during 2023.

The result, The Gathering is a seamless blend of compositions and collective improvisation that roves way beyond the usual generic categorizations making the album hard to pin down as either jazz or rock. Perhaps that’s as it should be for a sound that hovers somewhere between these and other more diverse stylistic influences.

1. The Corkscrew Tower (feat. Tony Levin)
2. Stormlight (feat. Percy Jones)
3. Apparition in the Vaults (feat. Tony Levin + two drummers)
4. A Fleeting Glance (feat. Percy Jones + two drummers
5. Pursued in the Snow Lit Forest (feat. Tony Levin)
6. The Lost Room (feat. Tony Levin)
7. The Listening Trees (feat. Tony Levin)
8. Journey Home (feat. Tony Levin + two drummers
9. Together We Rise (feat. Percy Jones)
10. Cinnamon Bird (feat. Percy Jones)

With Wingfield navigating his way through en mass of different musical spaces here within The Gathering, his new recording opens on the luxuriant The Corkscrew Tower (featuring Tony Levin) and the stridently alluring Stormlight (featuring Percy Jones), and then we are brought forth the atmospherically-sewn Apparition in the Vaults (featuring Tony Levin and two drummers), the elegant hipsway of A Fleeting Glance (featuring Percy Jones and two drummers, and then we get the stealthy Pursued in the Snow Lit Forest (featuring Tony Levin).

Along next is the veritably ethereal The Lost Room (featuring Tony Levin) and the quietly frenetic, yet dutifully-cultured The Listening Trees (featuring Tony Levin), and they are in turn followed by the soaring, fairly shimmering Journey Home (featuring Tony Levin and two drummers, the album rounding out on the all-embracing melodies that form Together We Rise (featuring Percy Jones), closing on the ornately masterful Cinnamon Bird (featuring Percy Jones).

Musicians:
Mark Wingfield - guitar, soundscapes (all tracks)
Gary Husband - synth & piano (all tracks) and drums (tracks 1, 5, 6)
Asaf Sirkis - drums (all tracks)
Tony Levin - electric upright bass (tracks 1, 3, 5, 6, 7, 8)
Percy Jones - fretless bass guitar (tracks 2, 4, 9, 10)

www.markwingfield.com

Omnivore presents Little Richard Vinyl [Official Video]

Title - Settin’ The Woods On Fire: The Reprise Rarities
Artist - Little Richard

For those unaware, Little Richard’s place in rock history has never been disputed. “The Architect” returned in 1970 on Reprise Records with The Rill Thing, and during his tenure at the label, he recorded four albums.

Only three saw a release, Southern Child would remain in the can until the songs from the record appeared on a 2007 compilation. Omnivore Recordings released it in its original album form for Record Store Day 2020.

Over the years, alternate takes, single sides, and a soundtrack appearance from $ (starring Warren Beatty and Goldie Hawn) were included on expanded CD reissues of The Rill Thing, King Of Rock And Roll, The Second Coming, and Southern Child.

Now, 13 of those tracks are compiled on this special LP release — some making their vinyl debut. Settin’ The Woods On Fire: The Reprise Rarities collects and showcases Little Richard’s dynamic time on Reprise, and offers a deeper look into the man and music whose output was, and is as engaging and original as it had ever been.

Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin’ The Woods On Fire includes new liner notes from writer Bill Dahl, and paves the way for reissues of those classic Reprise-era album’s return to vinyl. Look for fresh waxings of The Rill Thing, King Of Rock And Roll, The Second Coming, and Lifetime Friend, coming soon to a fine, fine record store near you!

SIDE ONE:
1. The Rill Thing Radio Spot A
2. Money Is
3. Mississippi (Instrumental)
4. Still Miss Liza Jane
5. In The Name (Version 4, Take 3)
6. Settin’ The Woods On Fire (Instrumental)

Taking the beautiful record out of the sleeve, putting the ORANGE vinyl on the turntable, gently dropping the needle, and sitting down to absorb what is to come forth, first up is a The Rill Thing Radio Spot A which is backed by the righteously soulful Money Is, the groovy Mississippi (Instrumental), the stridently sculpted blues of Still Miss Liza Jane, the side rounding out on the low slung, pop-funk of In The Name (Version 4, Take 3) and an instrumental take on his Southern soul scorcher Settin’ The Woods On Fire.

SIDE TWO:
1. Do It – Do It
2. Open Up The Red Sea
3. Why Don’t You Love Me
4. In The Name (Version 2)
5. Sneak The Freak
6. Shake A Hand (If You Can)
7. The Rill Thing Radio Spot B

Flipping the vinyl over, which is yet another pleasure of mine, next we get the finger-snapping, Shaft-imbibed Do It – Do It, the fervent blues piano blues of Open Up The Red Sea and the deep south-hued Why Don’t You Love Me, and they are in turn followed by the Gospel-infused In The Name (Version 2), the funky piano blues of Sneak The Freak, this side closing on the imploring, amazingly vocalized Shake A Hand (If You Can) and another The Rill Thing Radio (this one Spot B).

Official Live From The Woods CD Purchase Link

Title - Live From The Woods/Acoustic Live Vol. 1
Artist - NEEDTOBREATHE

For those unaware, Grammy-nominated southern rock band NEEDTOBREATHE have announced two live album reissues in Live From The Woods and Acoustic Live Vol. 1, which will both be released on November 22nd, 2024 via Omnivore Recordings.

Since 1999, the Grammy-nominated southern rock band NEEDTOBREATHE have quietly emerged as a dynamic force in music, from releasing their debut album with Atlantic Records in 2006 to finding themselves playing arenas and receiving nominations for multiple Grammy and Billboard Music Awards.

When their Rivers In The Wasteland album was released in 2014, it debuted at #3 on the Billboard 200, and topped the Rock Albums chart. Always an incredible and dynamic live act, the band recorded their September 13th, 2014 performance at The Woods Amphitheatre at Fontanel in Nashville, Tennessee on that tour. Those recordings appeared the following year as Live From The Woods.

With 15 tracks spread across two LPs, and a double CD with two bonus tracks, Live From The Woods features material from across their young yet meteoric career. From the Grammy nominated “Multiplied” to “Wanted Man” (interpolating Modest Mouse’s “Float On” on the live version) to “Brother” which cracked the Billboard Hot 100, Live From The Woods satisfies on every level.

AllMusic recognizes, “Overall, while the track selection doesn’t quite substitute for a greatest-hits collection, the album captures a strong live band delivering a clean, energetic performance (including revealing stage banter) that is certain to please fans and is an absolute must for anyone interested in a souvenir of the tour.” The release was another hit, landing on the Billboard 200, Top Alternative Albums, Rock Albums, and Digital Albums charts.

In 2017, NEEDTOBREATHE embarked on an acoustic tour, taking their catalog into a new dimension and their shows to a new level. Acoustic Live Vol. 1 was recorded on that run during 16 shows at 14 of the band’s favorite theaters across the country, including Charleston Music Hall in Charleston, SC, Lincoln Theatre in Washington, DC, and the historic Ryman Auditorium in Nashville, TN.

The 12-song collection was produced by NEEDTOBREATHE and mixed and mastered by the band’s Seth Bolt (backing vocals, bass) at his Plantation Studios in Charleston. It represents over a decade of music from the band, with songs spanning across five of their six studio albums––from tracks like RIAA Gold-certified “Brother” and “Testify” to “Washed By The Water,” “White Fences,” and “Stones Under Rushing Water” (featuring Drew and Ellie Holcomb), and “No Excuses” including portions of “House Of The Rising Sun” while “Oh, Carolina” mixes in The Who’s “Squeeze Box.”

Live From The Woods [2CD]
Disc 1:
1. State I’m In 2. Wanted Man 3. Drive All Night 4. Difference Maker 5. Multiplied 6. Oh, Carolina 7. Wasteland

Disc 2:
8. Keep Your Eyes Open 9. Washed By The Water 10. Something Beautiful 11. Girl Named Tennessee 12. Brother 13. The Heart 14. The Outsiders 15. More Heart Less Attack 16. Feet, Don’t Fail Me Now [CD-Only Bonus Track] 17. Devil’s Been Talking [CD-Only Bonus Track]

This quite stunning live double CD set opens disc one on the magnificent crowd pleaser State I’m In, the impassioned Wanted Man and the free wheeling Americana-rock of Drive All Night, and then we are brought forth the low slung ballad Difference Maker, the Gospel-hued Multiplied, the fervent rocker Oh, Carolina, the first disc closing on the dutiful balladry within the delicate Wasteland.

Along next, disc two opens on the heartfelt Keep Your Eyes Open, the impulsively strident rock of Washed By The Water, the mid-temple AOR of Something Beautiful and the soft grit, foot tapping rocker Girl Named Tennessee, and they are in turn followed by the low key balladry of Brother, the propellant The Heart, and both the rhythmically-charged The Outsiders and the languishing More Heart Less Attack; with the two CD-Only bonus tracks being the joyfully-charged, bounteously-effective Feet, Don’t Fail Me Now and the harmoniously forthright Devil’s Been Talking.

Acoustic Live Vol. 1
1. Let’s Stay Home Tonight
2. Drive All Night
3. No Excuses
4. State I’m In
5. Washed By The Water
6. Testify
7. Oh, Carolina
8. Stand By Me
9. Stones Under Rushing Water
10. White Fences
11. Cages
12. Brother

This simply magnificent acoustic collection of a dozen songs, opens on the pleasing sounds of Let’s Stay Home Tonight and the flourishing Drive All Night, and they are backed by the impassioned No Excuses, the upbeat and joyfully-imbibed State I’m In, and after a spoken introduction, then both the heartfelt reach of Washed By The Water and the melodic, Gospel-hued Testify are brought forth.

Along next is the fervently-charged Oh, Carolina and their rendition of Sam Cooke’s all-embracing Stand By Me, and they are in turn followed seamlessly by the beautiful ballad Stones Under Rushing Water, the soul-rock cut White Fences, the set rounding out on the passional ballad Cages, closing on an emotional Brother.

Available on CD and double-LP (featuring laser-etched Side 4 with album’s cover art), Acoustic Live Vol. 1 is far more than some of NEEDTOBREATHE’s greatest hits performed live, it’s a new way to experience them.

Official Acoustic Live Vol. 1 CD Purchase Link

Title - Shatter The Glass Sanctuary
Artist - Naomi Moon Siegel

Trailblazing composer-trombonist Naomi Moon Siegel has announced the Nov. 8 release of her third album Shatter The Glass Sanctuary, a collection of adventurous original works that chronicles her adjustment to small-town living in Missoula, Montana, after residing for many years in Seattle, Washington.

The music follows her inward journey of emotional highs and lows, propelled ever forward by a stellar sextet of acclaimed Seattle musicians including pianist Marina Albero, guitarist Andy Coe, percussionist Christopher Icasiano, trumpeter Ray Larsen, and bassist Kelsey Mines.

Produced by award-winning drummer and mentor Allison Miller, Shatter The Glass Sanctuary is Siegel’s most ambitious and sweeping statement yet, and a showcase of her prowess as a composer, improviser, bandleader, and trombonist.

1. The Adventures of Violet & Pilot [7:06]
2. Sabotage [5:09]
3. Seep Into My Pores [6:52]
4. Future Light [5:30]
5. Holding All The Broken Pieces - Shatter The Glass Sanctuary Suite [7:10]
6. Breath In (Interlude) - Shatter The Glass Sanctuary Suite [2:40]
7. II. Tethered - Shatter The Glass Sanctuary Suite [6:01]
8. Breath Out (Interlude) - Shatter The Glass Sanctuary Suite [2:09]
9. III. Shatter It - Shatter The Glass Sanctuary Suite [6:17]

Marking her third album as a composer and bandleader, she opens this sumptuous new recording opens on a spirited fanfare that resides within The Adventures of Violet & Pilot, and then brings us the perky, sprightly even Sabotage, the luxuriant Seep Into My Pores and the dulcet gossamer of Future Light.

Along next is her five track Shatter The Glass Sanctuary Suite, which itself opens on the petulantly rambunctious Holding All The Broken Pieces, which then gives way seamlessly to the rhythmically all-embracing Breath In (Interlude), the earnestly emboldened II. Tethered, rounding out on the veritably shimmering Breath Out (Interlude) - Shatter The Glass Sanctuary Suite, closing on the joyfully gorgeous III. Shatter It.

“The title ‘Shatter The Glass Sanctuary’ comes from a time when I was struggling to create a musical and personal home in Missoula. Writing this music was a catharsis for me, as I broke down and broke open to allow myself to feel the grief and heartbreak of leaving a city and community I loved, even as I was so curious about living in a smaller community more integrated with nature.”

“This music is about not holding things so preciously on a pedestal. It’s about knocking down cultural walls and emotional silos to make space for a wide spectrum of feelings from depression and isolation to joy. It is about my life in Missoula, letting myself experience this expansive place. It’s about grief, paradox, and unexpected connection.” – NAOMI MOON SIEGEL.

Musicians:
NAOMI MOON SIEGEL - trombone
RAY LARSEN - trumpet
MARINA ALBERO - piano
ANDY COE - guitar
KELSEY MINES - bass
CHRISTOPHER ICASIANO - drums

Official NAOMI MOON SIEGEL Facebook Page

Title - A Lullaby Carol: Christmas at Christ Church
Artist - Choir of Christ Church Cathedral, Oxford

For those unaware, on November 29th, 2024, AVIE Records will release A Lullaby Carol: Christmas from Christ Church from the Choir of Christ Church Cathedral, Oxford.

The program includes traditional and contemporary works, celebrating the choir’s rich musical heritage alongside its commitment to new music.

As the director Steven Grahl himself observes within the liner notes, the album begins with ‘Make we joy now in this fest,’ written by one of Christ Church’s most famous sons, Sir William Walton. Like his other carol on the album, ‘All this time,’ it is a vibrant expression of the strophic carol form. Elizabeth Poston’s ‘Jesus Christ the Apple Tree’ follows, offering a moment of reflection in its simplicity.

Francis Pott’s ‘Improvisation on Adeste, fideles’ is an inventive reimagining of the familiar Christmas carol. David Maw, a distinguished lecturer in music at Christ Church, offers similarly fresh and bold settings of ‘I Saw Three Ships,’ ‘Away in a Manger,’ and ‘Lullay, lullay, litel child.’

The recording features three settings by recent organists of Christ Church: Simon Preston’s ‘There is no rose,’ Stephen Darlington’s arrangement of ‘Silent night! Holy night!,’ and Grahl’s own setting of ‘O nata lux.’

Judith Weir’s iconic responses to Advent- and Christmas-tide texts, Robert L. Morris’s ‘Glory to the newborn King,’ and George Baker’s exhilarating ‘Toccata-Gigue on the Sussex Carol’ are firm favorites in the Christ Church repertoire.

A former Lay Clerk of the choir, Piers Connor Kennedy’s carols ‘A Spotless Rose,’ ‘Epiphany’ and ‘little tree’ are each marked by his lyrical and harmonic sophistication. Works by Peter Warlock, who studied at Christ Church, sit alongside Giles Swayne’s ‘Magnificat,’ written for this choir in 1982. Cheryl Frances-Hoad’s setting of ‘Good Day, Sir Christemas!’ closes the program.

1. WILLIAM WALTON (1902–1983)
Make we joy now in this fest
2. ELIZABETH POSTON (1905–1987)
Jesus Christ the Apple Tree
3. SIMON PRESTON (1938–2022)
There is no rose
4. GILES SWAYNE (b. 1946)
Magnificat
5. PIERS CONNOR KENNEDY (b. 1991)
A Spotless Rose
6. WILLIAM WALTON
All this time
7. JUDITH WEIR (b. 1954); arr. David Maw (b. 1967)
Drop down, ye heavens, from above
8. TRADITIONAL; arr. David Maw
I Saw Three Ships
Away in a Manger
9. GEORGE BAKER (b. 1951)
Toccata-Gigue on the Sussex Carol
10. DAVID MAW (b. 1967)
Lullay, lullay, litel child
11. PETER WARLOCK (1894–1930)
Benedicamus Domino
12. PIERS CONNOR KENNEDY
little tree - words: e e cummings (1894–1962)
Epiphany - words: Henry Vaughan (1621–1695)
13. FRANZ XAVIER GRUBER (1787–1863); arr. Stephen Darlington (b. 1952)
words: Josef Mohr (1792–1848), transl. John F. Young (1820–1885)
Silent night! Holy night!
14. STEVEN GRAHL (b. 1979)
O nata lux
15. JUDITH WEIR
Illuminare, Jerusalem
16. FRANCIS POTT (b. 1957)
Improvisation on Adeste, fideles
17. SPIRITUAL; arr. Robert L. Morris (b. 1941)
Glory to the newborn King
18. PETER WARLOCK; words: Bruce Blunt (1899–1957)
Bethlehem Down
19. CHERYL FRANCES-HOAD (b. 1980)
Good Day, Sir Christemas!

This simply divine, veritably heavenly new recording opens on the dutiful harmonizing within Make we joy now in this fest, the gentler Jesus Christ the Apple Tree, the immaculately hued There is no rose, and the more emboldened fare of Magnificat, and then brings us the effortlessly immersive A Spotless Rose, the flourishing All this time, a shimmeringly dulcet Drop down, ye heavens, from above, and the peppy I Saw Three Ships along with the delicate gossamer that is sewn within Away in a Manger.

Along next is the stirring Toccata-Gigue on the Sussex Carol, the sturdy Lullay, lullay, litel child, the pleasingly melodic Benedicamus Domino and both the quietly ornate little tree and the livelier Epiphany, and they are in turn followed by a dutifully astute Silent night! Holy night!, a simply divine O nata lux, a delicately veiled rendition of Illuminare, Jerusalem, the set rounding out on the organ-driven Improvisation on Adeste, fideles, the spiritually-hued Glory to the newborn King, coming to a close on an affectable Bethlehem Down and the impassioned Good Day, Sir Christemas!.

www.chchchoir.org

Title - Tonight I’ll Go Down Swingin’
Artist - Various

Today, Nine Mile Records and Clover Music Group have released Tonight I’ll Go Down Swingin’: A Tribute to Don Heffington, a musical salute to the late prolific drummer and singer-songwriter.

The new tribute album features performances of Heffington originals from collaborators and friends including Fiona Apple, Jackson Browne, John C. Reilly, Watkins Family Hour, Dave Alvin, Buddy Miller and more.

Proceeds from Tonight I’ll Go Down Swingin’ will benefit Sweet Relief Musicians Fund, a charity that helps musicians and industry members in need of all-around aid.

To date, Tonight I’ll Go Down Swingin’ has garnered praise from Variety, Stereogum, BrooklynVegan and more. Produced by Sheldon Gomberg (Ben Harper, Rickie Lee Jones) and Sebastian Steinberg (Fiona Apple, Iron & Wine), highlights from the album include Jackson Browne’s melancholic take on “Everywhere I Look” and Buddy Miller’s “honky-tonk weeper” (Magnet Magazine) “Fired Again.”

Elsewhere on the record, there are also co-writes with Tom Waits (“Seeds On Hard Ground”) and Allen Ginsberg (“Put a Kiss and a Tear in Yr. Letter”), as well as a triumphant rendition of Porter Wagoner’s “Tonight I’ll Go Down Swingin’” by Heffington himself.

The album closes with a poignant cover of Van Morrison’s “Irish Heartbeat” by Heffington and his daughter Laura.

First up on this most wondrous collection is the low slung yearn of “Kiss The Moon Goodbye” (by the Watkins Family Hour), the impassioned “Fired Again” (by Buddy Miller), the engaged storytelling that drives “Avenue C” (by Dave Alvin), and then comes the drum-led, psych-folk-rocker “Crablice & Quaaludes” (from The Boltcutters), the organically-hued balladry of “Generator” (by Eleni Mandell), the gentle Americana roll of “Seeds On Hard Ground” (by Tony Gilkyson), before we are brought forth the strident “Everywhere I Look” (by Jackson Browne), the rhythmical jauntiness of “The Heffington Appreciation Society” (from MOMO featuring Jim Keltner), the ragtime-imbibed, bass guitar-fed “Heffington Abstract” (by Sarah Kramer with Jorge Calderón and Van Dyke Parks), and the informative ballad “Live Slow Die Old” (by actor John C. Reilly).

Along next is the gentle-hued, veritably-hushed toned ballad “Lately” (by the brilliant Fiona Apple), the quietly rambunctious title track “Tonight I’ll Go Down Swingin’” (by Don Heffington), the piano and tambourine-driven “Although the Lord” (by Victoria Williams), and the funky bass, gritty electronic sounds of “Flying Over Flagstaff” (from Marvin Etzioni), and they are in turn followed by the melodically spoken word voice mail (left by a neighbor) “Sorry About the Matter” (by Tom Brousseau), the lonesome ode “Time to Drink Whiskey” (by Willie Watson), the harmonica-edged, solitary piano ballad “New Rising Sun” (from Peter Case), the set rounding out on a rhythmic bounce that flows through the fun “That’s Hollywood” (by Ramsay Midwood), the dutifully harmonized “Put a Kiss and a Tear in Yr. Letter” (by Inara George), closing on the beautiful acoustic ballad “Irish Heartbeat” (from Laura and Don Heffington).

Packing several music lifetimes into a lauded career that spanned decades, Don Heffington was a renowned drummer and versatile musician who first rose to prominence as a co-founding member of the beloved country-rock band Lone Justice, which toured with U2.

In addition to a revered solo career and time as a member of the Watkins Family Hour, Heffington’s production skills made him a sought-after musician over the years. He collaborated with some of the biggest names in music including Elvis Costello, Sheryl Crow, Bob Dylan, Emmylou Harris, Bonnie Raitt, Lucinda Williams, Dwight Yoakam and many others.

In 2021, Heffington tragically passed at the age of 70 due to complications from leukemia. His death was a significant loss to the music community, with many peers and collaborators expressing their admiration for his talent and mourning his passing. He is remembered not only for his musical contributions but also for his deep knowledge of music history and his generous spirit.

1. “Kiss The Moon Goodbye” – Watkins Family Hour 2. “Fired Again” – Buddy Miller 3. “Avenue C” – Dave Alvin 4. “Crablice & Quaaludes” – The Boltcutters 5. “Generator” – Eleni Mandell 6. “Seeds On Hard Ground” – Tony Gilkyson 7. “Everywhere I Look” – Jackson Browne 8. “The Heffington Appreciation Society” – MOMO feat. Jim Keltner 9. “Heffington Abstract” – Sarah Kramer with Jorge Calderón and Van Dyke Parks 10. “Live Slow Die Old” – John C. Reilly 11. “Lately” – Fiona Apple 12. “Tonight I’ll Go Down Swingin’” – Don Heffington 13. “Although the Lord” – Victoria Williams 14. “Flying Over Flagstaff” – Marvin Etzioni 15. “Sorry About the Matter” – Tom Brousseau 16. “Time to Drink Whiskey” – Willie Watson 17. “New Rising Sun” – Peter Case 18. “That’s Hollywood” – Ramsay Midwood 19. “Put a Kiss and a Tear in Yr. Letter” – Inara George 20. “Irish Heartbeat” – Laura and Don Heffington

www.sweetrelief.org

www.ninemilerecords.com

Title - Christmastime in Rio
Artist - Romero Lubambo & Pamela Driggs

For those unaware, a new holiday offering is afoot, famed Brazilian guitarist Romero Lubambo and vocalist Pamela Driggs join forces once again to create a holiday offering destined for holiday playlists and offering joy for seasons to come.

The pair explains, “We set out to make an intimate Holiday album inspired by love and gratitude for family and friends, evoking the spirit of the season. We’ve always loved and been inspired by the Christmas song recordings of the 50’s: Ella, Frank, Rosemary, Mel, and wanted to give them a Brazilian twist with cozy, relaxing bossa nova, samba, samba canção, and a waltz or two.”

The album offers an acoustic warmth of music, as well as lush vocal arrangements. The two further, “It was a pleasure to work with some of the best Brazilian and jazz musicians on the planet, all friends who feel like family. And it’s a dream to have our daughter, Luisa, featured on the album as well. It’s our gift to you this Holiday season to enjoy with your family and friends. Happy Holidays, Pamela and Romero.”

1. Have Yourself a Merry Little Christmas
2. I’ll Be Home for Christmas
3. Holiday of Love
4. Christmas Love Song
5. Silent Night
6. Presente de Natal
7. Winter Reverie
8. The Christmas Song
9. Santa Claus is Coming to Town
10. White Christmas
11. Jingle Bells
12. Toyland

On what is a dutifully honed holiday collection, this new recording opens on the luxuriant Have Yourself a Merry Little Christmas and the pure gossamer of I’ll Be Home for Christmas, and then we get given the dulcet beauty of Holiday of Love, a certain stillness that threads through Christmas Love Song, the harmonized Silent Night, before the hipsway of Presente de Natal is brought forth.

Along next is the rhythmically ornate Winter Reverie and the delicate The Christmas Song, and they are in turn backed seamlessly by the joyfully-hued Santa Claus is Coming to Town, a nuanced White Christmas, the set rounding out on the veritably translucent Jingle Bells, closing on the finespun Toyland.

Musicians:
Romero Lubambo: guitar and percussion; all arrangements
Pamela Driggs: vocals, background vocals
Luisa Lubambo: vocal, background vocals, all background vocal arrangements
Peter Martin: piano
Vitor Gonçalves: accordion
Joe Locke: vibraphone
Itaiguara Brandão: bass
Rafael Barata: drums

Official Luca Calabrese Website

Romero Lubambo @ Facebook

Title - Enamoured
Artist - Dörthe Drothen

For those unaware, singer-songwriter DÖRTHE DROTHEN enchants on Enamoured (out now via Dr. Music Records) with some refreshingly multi-faceted Jazz Pop love songs that will bring a smile to any and all hearts.

The German artist seduces into a world of love and infatuation, whereby each of the ten songs is a melodic testimony to the beauty of being in love. With her soulful music and unbridled passion, DÖRTHE enraptures her audience and leaves a lasting mark on the landscape of contemporary music.

Enamoured was created in collaboration with producers Joonas Lorenz and Markus Be Brachtendorf at Tonstudio Be and was mastered at Düsseldorf’s Skyline Tonfabrik by Kai Blankenberg, who has already refined the sound of albums by such illustrious greats as Lady Gaga, Kim Wilde and Aura Dione.

The musician relied on the renowned graphic designer Thomas Ewerhard (Ray Wilson, Volbeat) for the appealing album and singles artwork. With the opener and the first single Shades Of Your Heart, she has created a very catchy tune.

Furthermore, British videographer Andy Pilkington (FM, Visionatica, Uriah Heep) produced a charming lyric video perfectly emphasizing the message of this romantic song. Next is the warmhearted second single Making Time describing the moment when a person enters the room and the sight of whom makes you so happy that you stop what you’re doing to spend time together.

1. Shades Of Your Heart
2. Making Time
3. The Captain
4. Too Much
5. Simple Words
6. Do I Need To Be Somewhere
7. Out Of Sight
8. Wishing You Were Here
9. Hot Chocolate Mocha Latte
10. These Are The Times

With DÖRTHE thoroughly impressing on this sophomore album, this new recording opens on the veritably glistening Shades Of Your Heart and the preppy, buoyantly joyful Making Time and then comes the languishing piano balladry of The Captain, the impassioned Too Much, before the jazzy-pop of Simple Words is brought forth.

Along next on this fascinatingly blended album, is the stoically charmed, atmospheric Do I Need To Be Somewhere and the demurely-sculpted Out Of Sight, and they are in turn backed seamlessly by the gently strident Wishing You Were Here, the album rounding out on the funky Hot Chocolate Mocha Latte, closing on the opulent These Are The Times.

Dörthe Drothen @ Facebook

www.doerthedrothen.com

www.mvdshop.com

Title - Reissues of 5 Ray Charles’ Classic Albums
Artist - Ray Charles

For those unaware, today, Ray Charles’ Tangerine Records releases remastered reissues of the icon’s classic albums Country And Western Meets Rhythm And Blues and Crying Time, out now on vinyl, CD and all streaming platforms.

This marks the first time the two albums have been available on vinyl since their original pressing, part of a rollout of five albums from Charles’ catalog this fall, celebrating his impact on country music.

Following the recent reissues of Charles’ groundbreaking Modern Sounds In Country And Western Music and Modern Sounds In Country And Western Music Vol. 2 and capped off by the new Best of Country & Western compilation on November 15th, 2024, this series celebrates his profound influence in country music.

Country And Western Meets Rhythm And Blues

The success of the Modern Sounds in Country and Western Music albums paved the way for Charles’ creative freedom as an artist. In 1965, he continued to show his deep affinity for country music with Country & Western Meets Rhythm & Blues, a.k.a. Together Again, which features his unforgettable version of the Buck Owens staple “Together Again.”

This album also holds the distinction of being the first album Charles recorded in his own RPM International recording studio.

The album opens on the sweeping Together Again and the low slung finger snapper I Like to Hear It Sometime, and then we get brought forth the dutifully harmonized I’ve Got a Tiger by the Tail (Swingova), the veritably cinematic (and rightly so) Please Forgive and Forget, and the country-hued both I Don’t Care and the loud swing-styled Next Door to the Blues.

Along next is his rousing, yet cultured rendition of Blue Moon of Kentucky (Swingova) and the all-embracing ballad Light Out of Darkness, which are in turn backed by the joyfully upbeat swing of Maybe It’s Nothing at All, the ornately elegant All Night Long, the album rounding out on the melodious Don’t Let Her Know, closing on the big band beauty Watch It Baby.

1. Together Again 2. I Like to Hear It Sometime 3. I’ve Got a Tiger by the Tail (Swingova) 4. Please Forgive and Forget 5. I Don’t Care 6. Next Door to the Blues 7. Blue Moon of Kentucky (Swingova) 8. Light Out of Darkness 9. Maybe It’s Nothing at All 10. All Night Long 11. Don’t Let Her Know 12. Watch It Baby

Official Country And Western Meets Rhythm And Blues Purchase Links

Crying Time

On 1966’s Crying Time album, Charles delivers the definitive version of that Buck Owens classic, and it earned him the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male, and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences.

As if that weren’t enough, the album also boasts Charles #1 R&B Billboard smash “Let’s Go Get Stoned.”

The album opens on a lonesome yearn within Crying Time and the reaching ballad No Use Crying, and then comes the Gospel-raised Let’s Go Get Stoned, the beautiful piano piece Going Down Slow, and both the triumphantly emboldened Peace Of Mind and the sweeping elegance of Tears.

Along next is the piano-driven delights shown driving the emotional ballad Drifting Blues and the emphatic big band tune We Don’t See Eye To Eye, and they are in turn followed by the melodic gossamer of You’re In For A Big Surprise, the gently funky, grooved You’re Just About To Lose Your Clown, the album rounding out on the stylish Don’t You Think I Ought To Know, closing on the big band-driven rhythms of You’ve Got A Problem.

1. Crying Time 2. No Use Crying 3. Let’s Go Get Stoned 4. Going Down Slow 5. Peace Of Mind 6. Tears 7. Drifting Blues 8. We Don’t See Eye To Eye 9. You’re In For A Big Surprise 10. You’re Just About To Lose Your Clown 11. Don’t You Think I Ought To Know 12. You’ve Got A Problem

Official Crying Time Purchase Links

www.raycharles.com

Title - Vinyl Brews
Artist - Gardyn Jazz Orchestra

For those unaware, Jon C. Gardner is a composer and arranger based in Philadelphia, PA. While earning music degrees from the University of Valley Forge and UMass-Amherst, Jon apprenticed under Jeffery W. Holmes, and Guggenheim Recipient Dr. Felipe Salles studying copyist and arranging techniques along with jazz ensemble rehearsal techniques.

A three time honorable mention award winner in the international Ithaca College Jazz Composition Contest, Jon has come to be a very well sought after arranger and composer while maintaining an active performing role. Jon has served as an educator for various collegiate, k-12 ensembles throughout various areas of Pennsylvania; Massachusetts; Connecticut; and Poland.

It’s all about the craft! Jon’s brand new album with the Gardyn Jazz Orchestra is out now and entitled Vinyl Brews, and is an album that is all about brews. Furthermore, each track has some correspondence to a craft brew that inspired Jon to create an audio counterpart!

1. Dinero de Sangré [6:25]
2. By the Stoney Creek [6:49]
3. The Golden OG [4:43]
4. Walking On Clouds [6:19]
5. Zoomies! [6:41]
6. Meh... It Happens [4:24]
7. By the Stoney Creek (Alternate Take) [6:59]
8. The Golden OG (Alternate Take) [4:41]
9. Walking On Clouds (Alternate Take) [6:21]

With a thank you thrown out to the Von C. Brewing Company family, who Jon claims that without their support, and great craft brews, the inspiration to create this album would not have been possible, this new recording opens (after an introduction) on the joyfully inspiring Dinero de Sangré and then we get brought forth the triumphant By the Stoney Creek, the melodiously-sculpted The Golden OG and the drum-led, grooved beauty Walking On Clouds.

Along next on this fascinatingly blended album, is the gently fervent, aptly-titled Zoomies! and the languishing Meh... It Happens, and they are in turn backed by the upbeat, soulful By the Stoney Creek (Alternate Take), the finger-snapping The Golden OG (Alternate Take), coming to a close on the low slung, mesmerizingly rhythmic Walking On Clouds (Alternate Take).

Musicians:
Jon C. Gardner - Alto Saxophone
Jacob Kaplan - Alto Saxophone
Jud Aaron - Tenor Saxophone
Jordan Graef - Tenor Saxophone
Louis Kugelman - Baritone Saxophone

JCGardner Music @ Facebook

www.jcgardnermusic.com

Title - Cambio (Change)
Artist - Neff Irizarry

For those unaware, Neff Irizarry is a highly talented composer, guitarist, author, and educator specializing in Latin and Contemporary Jazz.

His latest release titled Cambio (Change), produced by three-time Grammy Award-winning bassist Jimmy Haslip, features the guitar in a Latin Jazz context without the piano.

Since the age of five years old, Neff has had a continuous love affair with music. From autoharp to choir to clarinet to bassoon and even baritone saxophone, the introduction of the guitar into his life was the last arrow that stung his musical heart and still drives his passion to create music till this day.

His musical foundation was built at Berklee during the late 90’s with some fantastic musicians and teachers. And, it was tested and blessed by the countless of world class musicians that he has had the honor to share the stage with.

1. Adelante (Come Forward)
2. Cuatro Minutos (Four Minutes)
3. Cabo Rojo (Cape Red)
4. Cargado (Loaded)
5. The Rain Song
6. El Swing de La Finca (Farm Swing)
7. Hija Mia (My Daughter)
8. Lluvia (Rain)
9. San Miguel de Los Acordes (St Michael of the Chords)
10. Vitamina R (Vitamin R)
11. Todo lo que Fuiste (All that you were)

This immaculately musically sewn together new recording opens on the flirtatiously-sculpted Adelante (Come Forward) and the infectious rhythms within Cuatro Minutos (Four Minutes), and then we get the dutiful hipsway of Cabo Rojo (Cape Red), a resounding Cargado (Loaded), and they are followed by the lushness exhibited within The Rain Song.

Produced by Jimmy Haslip, the bass guitarist who was a founding member of the jazz fusion group the Yellowjackets, and which is a vibe that can be heard throughout the entire album, along next on this highly impassioned album is the aptly-titled El Swing de La Finca (Farm Swing) and the all-embracing Hija Mia (My Daughter), and they are in turn backed by the percussion-fed Lluvia (Rain), the rounded vibrancy of San Miguel de Los Acordes (St Michael of the Chords), rounding out on the melodious Vitamina R (Vitamin R), and closes on the affluent Todo lo que Fuiste (All that you were).

Musicians:
Neff Irizarry - guitars
Martin Fabricius - vibraphone
Jimmy Haslip - basses
Ricardo Padilla - percussion

www.alexmclaughlinbass.com

www.neffirizarry.com

www.bluecanoerecords.com

Title - Urban Tracks
Artist - Cliff Korman

For those unaware, born and trained in New York, Cliff Kormanʼs journey began over thirty years ago at the Creative Music Studio’s World Music Institute in Woodstock, where he met the legendary Brazilian clarinetist Paulo Moura.

From their friendship and musical partnership a series of concerts and recordings was born: Mood Ingênuo: The Dream of Pixinguinha and Duke Ellington, Rhapsody in Bossa, on the music of Gershwin and Jobim, Gafiera Jazz, a revealing commentary on the history of Brazilian ballroom, and the Gnattali/Monk Project, exploring two of the most influential American pianists of the century.

Since establishing his spiritual and physical home in Brasil Cliff Korman has become one of the most respected North American musicians in the country. He has produced and arranged a number of Brazilian Jazz CD’s, and appears on numerous recordings made in Brasil, and holds a Master of Arts in Jazz Performance from the City College of New York, where he trained with Roland Hanna, Ron Carter and Kenny Barron.

Cliffʼs brand new album Urban Tracks features the inventive pianist Brazlian and jazz classics in a trio with bassist Harvie S and drummer Rafael Barata. The music, which ranges from Wayne Shorter and Benny Golson to Caetano Veloso and Tonhino Horta, has consistently brilliant piano playing and close interplay by the trio.

1. Chelo De Malicia
2. Manhã De Carnaval
3. All The Things You Are
4. Canhoto
5. Whisper Not
6. Fall
7. Francisca
8. Trilhos Urbanos
9. Saudade Do Paulo

Recorded in Brooklyn, New York at The Bunker Studio, the new recording opens on the pleasantly pleasing Chelo De Malicia and then comes the resplendent Manhã De Carnaval, the playfully jaunty All The Things You Are, before the more stridently-structured Canhoto comes forth.

Along next is their luxurious rendition of Benny Golsonʼs Whisper Not and the all-embracing Wayne Shorter track Fall and they are in turn backed by the rhythmical Francisca, the warmly rounded Trilhos Urbanos rounding the album out, coming to a close on the gently fervent structures that drive Saudade Do Paulo.

www.cliffkorman.com

Cliff Korman @ Facebook

Title - A Brand New State
Artist - Alex McLaughlin

For those unaware, Alex McLaughlin is a bassist, composer, and the newly appointed Jazz Program Director at Idyllwild Arts Academy, an international boarding arts highschool just outside of Los Angeles.

He has been marked as representational of what a modern artist entails, in that he is equal parts artist, composer, and educator. Alexʼs voice on the double bass distills his upbringing in both the jazz lineage as well as his rooted study of the European classical canon.

The counterpoint of both J.S. Bach and Ron Carter equally inform his fundamentals, alongside artists considered home to the long twentieth century: Stravinsky, Schoenberg, Scriabin, Mingus and others -- in this regard, stylistic comparisons to bassist David Holland have been made.

Alexʼs debut effort, A Brand New State, is set for release on January 17th, 2025. This all original album features Jeremy Pelt (trumpet), Jeremy Siskind (piano), and Tina Raymond (drums).

Ulysses Owens Jr. produced the record, with mixing and mastering done by Dave Darlington. The album offers a series of musical vignettes, thematically reflecting on harnessing the power of change: taking advantage of the right moment or signal to progress, and using the hardship of life as a means to define our character in constructive directions.

1. Desert Chapel
2. Trail Head
3. Signals
4. The Solar Punks
5. Lily
6. El Polvo
7. Trial
8. Elevation

Exquisitely trained as a teacher and performer, Alexʼs new recording opens on the organically sewn Desert Chapel and the jaunty Trail Head, and then we get the lushly sculpted Signals and my own personal favorite track here, the fervently charged The Solar Punks.

Along next is the scintillating Lily, which is in turn followed by the rhythmically-grooved El Polvo, the album rounding out on the delicately ornate Trial, coming to an all-too-soon close on a rambunctiously playful Elevation.

Alex McLaughlin @ Instagram

Title - Celebrating Wayne Shorter: Live at The Pump House
Artist - Dan Moretti & Brazilia

For those unaware, renowned saxophonist Dan Moretti will release his latest album, Dan Moretti & Brazilia: Celebrating Wayne Shorter: Live at The Pump House Music Works on January 31st, 2024.

This extraordinary live recording captures a vibrant performance dedicated to the legendary jazz composer and saxophonist Wayne Shorter, blending the genius of Shorterʼs compositions with the dynamic rhythms of Latin Jazz.

The album features a stellar line-up of musicians, including Latin Jazz Grammy winner Oscar Stagnaro from Peru on bass, Maxim Lubarsky from Ukraine on piano, Ernesto Diaz from Columbia on percussion, and Steve Langone from Boston on drums.

Together, they deliver a masterful reinterpretation of some of Wayne Shorterʼs most iconic pieces, infusing them with fresh energy and rhythmic flair.

Dan Moretti is an acclaimed saxophonist, composer, and educator with a career spanning over four decades. Known for his versatility and innovative approach to jazz, Moretti has released numerous albums as a bandleader and has performed with a wide array of legendary musicians. His work continues to push the boundaries of jazz, blending traditional elements with modern influences.

Recorded live at the historic Pump House Music Works in Peace Dale Rhode Island, the album will act as a fundraiser for this non-profit music and arts venue. The album captures the spontaneous creativity and electric atmosphere of the performance.

Morettiʼs saxophone work at the forefront, weaves intricate melodies and improvisations that honor Shorterʼs legacy while exploring new sonic landscapes. The infectious groove generated by his fellow musicians are complemented by Maxim Lubarskyʼs relentless piano performances.

Furthermore, all the band members have featured space capturing the spirit of the live Latin-jazz performance and the videos will also will be released on YouTube.

1. Black Nile [5:52]
2. Fee Fi Fo Fum [5:52]
3. Night Dreamer [6:34]
4. Speak No Evil [5:58]
5. Witch Hunt [6:51]
6. Yes or No [5:57]
7. Oriental Folk Song [7:09]
8. Footprints [6:55]

With a continually strong underpinning of funk and Latin rhythms throughout, Danʼs new recording opens on the vibrantly-hued Black Nile and the melodious Fee Fi Fo Fum, and then we get a dutifully structured Night Dreamer and the flourishing Speak No Evil.

Along next is the joyfully crafted Witch Hunt, which is in turn backed by the percussional beauty Yes or No, the album rounding out on the languishing majesties within Oriental Folk Song, coming to a close on the free for all that lovingly drives Footprints.

I wanted to pay tribute to Wayne Shorter in a way that felt both respectful to his original compositions and exciting in a new, contemporary context, said Moretti. Working with such incredible musicians allowed us to push the boundaries and bring these timeless pieces into a new light, with the richness of Latin rhythms enhancing their beauty.

Players/Instrument:
Dan Moretti: tenor, soprano saxophones
Oscar Stagnaro: bass
Maxim Lubarsky: piano
Ernesto Diaz: percussion
Steve Langone: drums

www.danmoretti.com

Dan Moretti @ Instagram

Title - A Star’s Light Does Fall
Artist - Margaret Slovak & Chris Maresh

Starlight. Solitude. Stillness. A wide-open winter sky. This imagery defines A Star’s Light Does Fall – a jazz album that both embraces the magical essence of the Christmas season and re-imagines the entire genre of holiday music.

Guitarist Margaret Slovak and bassist Chris Maresh, both from Austin, go deep on this recording. Their musical mission is anchored in space, intimacy, reflection.

Margaret and Chris interpret classic carols such as “O Come, O Come, Emmanuel” and “Away In a Manger.” But there’s room for Wayne Shorter and Leonard Cohen on the album, too.

Think of a holiday album in the spirit of Pat Metheny and Charlie Haden’s “Beyond the Missouri Sky,” a sublime mix of deep feeling and musical integrity.

1. O Come, O Come Emmanuel [4:28]
2. I Wonder As I Wander [6:07]
3. What Child Is This? [4:24]
4. Christmas Time Is Here [5:09]
5. Infant Eyes [7:02]
6. Away In a Manger [3:24]
7. Christmas Dinner [4:26]
8. Some Children See Him [4:34]
9. The Star Carol [3:51]
10. Have Yourself A Merry Little Christmas [5:00]
11. Hallelujah [3:20]

Dedicated to both their late fathers, Henry Slovak and Lee Maresh, who instilled in them the beauty and joy of playing music, the duo’s new recording opens on the delicate O Come, O Come Emmanuel and the shimmering I Wonder As I Wander and then we get the pure gossamer spun within What Child Is This?, the elegant Christmas Time Is Here and then the quietly flourishing Infant Eyes is brought forth.

Along next is the embroidered Away In a Manger and the playful Christmas Dinner, and they are in turn ably followed by the veritably gilded Some Children See Him, the sumptuous The Star Carol, the album rounding out on a dutifully opulent Have Yourself A Merry Little Christmas, closing on the simply beautiful Hallelujah.

Our intent with this album was to record traditional, non-traditional and lesser-known Christmas music that might bring comfort and peace to people during the holiday season, especially those facing life and health challenges or grieving the loss of a loved one. - Margaret Slovak

Players/Instrument:
Margaret Slovak: nylon-string guitar
Chris Maresh: acoustic bass

Margaret Slovak @ YouTube

www.margaretslovak.com

Chris Maresh @ Facebook

Title - Christmas Album (Zoetrope and Ruby Red 7” Single)
Artist - The Beach Boys

For those unaware, in 1964, at the height of their popularity, The Beach Boys put their Southern California-soaked sunshine spin on Christmas music with a mix of originals and inspired renditions of holiday favorites.

Their fourth LP of the year, The Beach Boys’ Christmas Album was an instant classic, and over the ensuing six decades has become one of the group’s most beloved albums as well as one of the most cherished Christmas collections in the holiday music canon.

The 60th anniversary of The Beach Boys’ Christmas Album is being commemorated with a numbered, limited edition LP on custom zoetrope vinyl, available exclusively via www.TheBeachBoys.com, uDiscover Music and Sound of Vinyl.

The record includes a new gatefold jacket that features a holiday photo spread and a bonus 7″ with the single version of “Little Saint Nick” plus “Auld Lang Syne” on translucent “Ruby Red” color vinyl. The 7” single will also be available separately on “Ice Blue” vinyl.

A delightful fusion of The Beach Boys’ signature harmonies, lush instrumentation and the joyous spirit of the holiday season, The Beach Boys’ Christmas Album is a quintessential holiday record that captures the essence of the band’s distinctive sound.

Inspired by his production hero Phil Spector and his LP, A Christmas Gift For You From Phil Spector, released the year prior, Brian Wilson similarly aimed to create an album that honored the season and appealed to all generations.

SIDE ONE:
1. Little Saint Nick
2. The Man With All The Toys
3. Santa’s Beard
4. Merry Christmas, Baby
5. Christmas Day
6. Frosty The Snowman

Removing this incredible-looking zoetrope vinyl LP from its sleeve and placing it on the turntable, lifting the arm and placing the needle on the record, and accompanied by a sonorous 40-peice orchestra, first up we get a side of originals (the other side being classic covers).

For me, from these five originals, the first track, the now-iconic Little Saint Nick is the definitive stand out. Depicting Santa as part of the surfing-and-racing California scene, a major part of the band’s initial image and obsessions, the other tracks quickly become more and more eccentric and quirky, with a focus on both childhood innocence enjoyed and lost.

Another contender here for my favorite track is the fun The Man With All The Toys, with the superbly impassioned Santa’s Beard as charming a Christmas song as you could possibly hope to hear, and as we all know by now, Christmas Day features Al Jardine’s first lead vocal on a Beach Boys song.

SIDE TWO:
1. We Three Kings Of Orient Are
2. Blue Christmas
3. Santa Claus Is Comin’ To Town
4. White Christmas
5. I’ll Be Home For Christmas
6. Auld Lang Syne

Flipping the vinyl over on this well-balanced mix of original and traditional songs, showing off their gorgeous harmony vocals, the boys then bring us a stirring We Three Kings of Orient Are and a rather delightful White Christmas, with Brian also covering a dulcet Blue Christmas, and we also get given (a slightly over arranged) Santa Claus Is Comin’ To Town, and more.

Thus, and on what is a recording whose orchestral instrumentation and fantastic harmonies, along with beautiful vocal performances by Brian and company, are as impeccable as one could have ever recalled, what we have here after 60 years is another reason to remove the usual holiday music aside this year, and put this instant full-length classic on for your guests to thoroughly enjoy.

The Beach Boys are also celebrating the 60th anniversary of their two iconic 1964 albums, Shut Down, Vol. 2 and All Summer Long with limited edition fan-focused color vinyl pressings.

Shut Down, Vol. 2, which includes such classics as “Fun, Fun, Fun,” “Don’t Worry Baby” and “The Warmth Of The Sun, is available on blue and white marble custom color vinyl, while All Summer Long, featuring all-time greats like “I Get Around,” “All Summer Long” and “Little Honda,” is pressed on sunrise color vinyl.

Both records are housed in a high-quality jacket, numbered from 1 to 1964 and available exclusively via uDiscover Music, Sound Of Vinyl and The Beach Boys’ official webstore.

Official Zoetrope Vinyl Purchase Links

Official “Little Saint Nick” is available on 7” Single Ice Blue vinyl Purchase Links

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Title - Face the Music
Artist - Prophets Of Addiction

For those unaware, West Coast based glam, punk ’n’ rollers PROPHETS OF ADDICTION just released the new music video for the track Let’s Get High from their new album Face the Music through BraveWords Records.

The video was premiered by Sleaze Roxx and is now available worldwide.

Prophets Of Addiction - Let’s Get High [Official Video]

Lead singer Lesli Sanders shares the story of the song and video: We are all looking for a high, although the term is often associated with drug use; in reality, it is most often not the case. In this case, the topic of the song as I was penning the lyrics was a reflection back into time of the excitement that surrounded a new release from a favorite band of mine. It was the effort put into not only purchasing the record, saving up money doing odd jobs, or whatever, as money was never handed to me; it had to be earned.

Then I knew I had to be at the record store in a timely fashion as it could sell out real quickly; maybe the particular mom and pop record store only would have 6 copies? I would get there by any means necessary, which usually meant my bicycle. Then the race was on, and after purchasing that record, I would hightail it home to throw that thing on the turntable with an excitement rarely found in this now world of instant gratification.

I mean, this was an accumulation of weeks, if not months, of preparation. Once that music was blasting, shaking the house much to my mom’s dismay, it was time to double-task, as I would listen to every nuance all the while scouring the artwork, credits, and photos. It was a time of great excitement and a good HIGH.

1 - Flavor of the Danger
2 - Let’s Get High
3 - Slippin’ Away
4 - Walk the World
5 - Maggie May
6 - Superhero
7 - I Want You to Know
8 - Hollywood
9 - Wasted Tears
10 - Last One in the Bar
11 - Take Me to Your Leader

From a band that has been described as a modern day Hanoi Rocks meets The 69 Eyes, Prophets Of Addiction open their brand new album on the rhythmically propellent Flavor of the Danger and the drum led, guitar rocker Let’s Get High, and they are backed by the dutiful balladry of Slippin’ Away, the foot to the floor Walk the World, and a throaty rendition of the Rod Stewart classic Maggie May.

Along next is the melodious rocker Superhero and the forthright bluesy-rock of I Want You to Know and they are in turned followed by the easy going Hollywood, the feisty AOR of Wasted Tears, the album rounding out on the languishing ballad Last One in the Bar, closing on the gritty pop-rocker Take Me to Your Leader.

THE PLAYERS:
Lesli Sanders: Lead Vocals, Guitars
Phil Soussan: Bass, Piano, Mandolin, Percussion, Backing Vocals
Wayne Stokely: Drums, Backing Vocals
Tchad Drats: Guitar, Ebow, Backing Vocals
G.G. Guitar, Backing Vocals
Terry Bratsch, Acoustic Guitar, Electric Steel, Backing Vocals

www.prophetsofaddiction.com

Prophets Of Addiction @ Facebook

Title - Oneness
Artist - Sivan Arbel

For those unaware, “Oneness” is a testament to Sivan Arbel’s journey beyond the limits of her own traditions, a celebration of the rich tapestry of global influences residing in Brooklyn, New York’s melting pot.

Sivan was already an artist celebrated for her maverick rhythmic exploration and, as All About Jazz put it, possessing an angelic, elastic tone.

“Oneness” speaks to a solemn commitment that our shared humanity has the ability to transcend borders; not only in geography, but also in the creative spirit. It’s a symphony that harmonizes Eastern and Western influences.

Sivan’s journey of self-discovery leads her to collaborate with neighbors—practicing ragas, finding innovative rhythms in unsteady beats, and ultimately breaking free from the narrow confines of tradition to paint a vivid picture of unity through the vibrant mosaic of her community.

1. Dreamland
2. Black Feet
3. The World of the End
4. Let Go
5. The Pit
6. Yin Yang
7. Second Floor Beloved
8. Everybody Wants to Rule the World
9. Oneness

On an album that came alive thanks to some essential contributions by two-time Grammy Award winning engineer and producer Fran Cathcart, it opens on the delicately sweeping Dreamland and then brings us the low slung hipsway within Black Feet, the veritable translucent gossamer of The World of the End, before the all-embracing soulfulness of Let Go is brought forth.

The Israeli singer-composer-arranger continues onward with the introspective sounds that guide The Pit and the pure gossamer of Yin Yang, and they are in turn followed seamlessly by a floating Second Floor Beloved, rounding out on an earnestly robust rendition of the Tears For Fears track Everybody Wants to Rule the World, closing on the playfully perky title track Oneness.

Musicians:
Sivan Arbel, Vocals
Nick Hetko, Keyboards Sam Weber, Bass
Evan Hyde, Drums
Jay Gandhi, Bansuri Flute
Tripp Dudley, Percussion

www.sivanarbel.com

Sivan Arbel @ Facebook

Title - Ginetta’s Vendetta presents Fun Size
Artist - Ginetta M.

For those unaware, triple-threat female powerhouse Ginetta M. plays Pocket Trumpet, sings, composes and leads her internationally acclaimed band Ginetta’s Vendetta around the world as a recognized UNESCO Jazz Ambassador.

She is continually spreading the Gospel of Jazz, what she calls “America’s Greatest Export”, through festivals, tours, gigs, workshops, podcasts and more.

This Alumna of North Texas State University is unstoppable and consistently redefining musical and professional boundaries.

On her sixth CD as a bandleader, Fun Size, she features a stellar line up of NYC’s best musicians which includes Jon Davis on Piano, Danny Walsh on Tenor & Soprano Sax, Marcello Pellitteri on Drums, and Belden Bullock on Bass.

Oh, and she is also the arranger on all the tunes, as well as composer on two of the selections!

1. Ginetta
2. Blues for Pop-Pop (Holy Man)
3. There Will Never Be Another You
4. Black Orpheus
5. Tell Your Story Walkin’
6. Moon River
7. All Blues
8. Little Sunflower
9. It Could Happen to You
10. Misty
11. Christmastime
12. Ginetta (Alternative Take)
13. Blues for Pop-Pop (Holy Man) (Alternative Take)

This organically hued new recording opens on the spirited Ginetta and the dutifully impassioned Blues for Pop-Pop (Holy Man), and then we get the swirling There Will Never Be Another You, the gently frenetic, yet luxuriously empowered Black Orpheus, the flourishing Tell Your Story Walkin’, before the elegantly-sculpted, vocalized Moon River is brought forth.

Along next is the playfully flirtatious All Blues and the near ten minute firecracker Little Sunflower, and they are in turn followed seamlessly by the rhythmically melodious It Could Happen to You, the languishing Misty, the album rounding out on the holiday tune Christmastime (a bonus here, which comes from her upcoming 2025 Christmas album) and a lonesome ode that drives an alternate take on Ginetta, closing on a robust alternative take of Blues for Pop-Pop (Holy Man).

Ginetta M. @ Facebook

Ginetta M. @ Twitter

Title - Outgrown [EP]
Artist - Lovella

For those unaware, Lovella is no stranger to the stage. Growing up in a musical family, she was born watching her father perform countless shows, which set the stage for her love of music, performance and songwriting.

At 12 years of age, Lovella started out joining her father (Seth Warden) on stage along with his band Warden and Co., which led to the recording of the song Somewhere in 2022 in which Lovella was featured at the age of 13.

This garnered much attention as the song became the most streamed on the album, and there became an obvious interest and demand for more Lovella.

It was then that Lovella and her dad started working on her first EP, at the age of 15. The EP was released in the summer of 2024 and immediately gained attention and was placed into rotation on WEXT 97.7 in upstate New York.

Outgrown forges her father’s music with Lovella’s melodies and lyrics, often completing and closing the book on sonic fragments that were decades in the making. Celebrating the release of said EP - the entirety of which is rife with the dichotomy of sounds of yesteryear blending with modern production and fresh vocal styling - the stories of her youth are laid bare in these songs.

Furthermore, her words tell us about how Lovella has outgrown her childhood and early teen years and at just 16, how Lovella is laying down songs that still belie her age.

1. Reality
2. Outgrown
3. Even the Ocean
4. Diving Deep
5. Paralyzed

This dutifully crafted, impassioned and heartfelt new EP opens on the veritably glistening Reality and then brings us the dulcet, organically-hued title track Outgrown, the lushly flowing Even the Ocean, rounding out on the beautifully melodic Diving Deep, coming to an all too soon close on the harmonically impassioned Paralyzed.

Official Beach Boys 7” Color Vinyl Purchase Link

Lovella @ Facebook

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Title - UMe Christmas 7” Singles [Color Vinyl]
Artist - Various

For those unaware, some of the biggest holiday songs of all time will be released on collectible 7” color vinyl in time for the holidays.

Available November 8th, 2024 via UMe, Christmas music lovers and collectors alike can enjoy timeless yuletide classics from The Beach Boys, Brenda Lee, Burl Ives, Chuck Berry, Ella Fitzgerald, Frank Sinatra and Nat King Cole and add a touch of vintage holiday spirit to their collections with these vibrant color vinyl records.

Each 7” platter features a beloved holiday hit on the A-side and another festive favorite on the B-side, making these releases perfect for both enjoying and displaying. These limited-edition records are a celebration of the season and a tribute to the enduring appeal of these legendary artists.

The Beach Boys: “Little Saint Nick” / “Auld Lang Syne” [on “Ice Blue” vinyl]

The Beach Boys’ classic Christmas songs “Little Saint Nick” and “Auld Lang Syne” epitomize the group’s unique ability to blend holiday cheer with their signature sunshiny sound. Originally featured on their 1964 holiday record, The Beach Boys’ Christmas Album, “Little Saint Nick” is a Santa-fied spin on “Little Deuce Coupe” while the traditional Scottish New Year’s Eve anthem “Auld Lang Syne” is imbued with a harmonically rich arrangement and the band’s trademark melodies.

First released as a single on December 9th, 1963, the single actually peaked at #3 on Billboard magazine’s special seasonal weekly Christmas Singles chart.

Interestingly enough, back then upon its release, its B-side was an a cappella version of “The Lord’s Prayer,” but here now for this re-release, it is an all-embracing rendition of “Auld Lang Syne.”

Brenda Lee: “Rockin’ Around The Christmas Tree” / “Papa Noel” [on “Translucent Emerald” vinyl]

Recorded when she was just 13 years old in 1958 and originally released to modest success, Brenda Lee’s “Rockin’ Around The Christmas Tree” has endured to become one of the most beloved holiday songs of all time.

In December 2023, 65 years after the song was first released, it reigned supreme as the #1 song in the U.S., topping the Billboard Hot 100 for the first time. At the age of 78 Lee became the oldest artist ever to top the Hot 100, later breaking her own record a week later at the age of 79.

On this brand new re-release, “Rockin’” is backed with the Cajun Christmas tune “Papa Noel,” just like it was when originally released as a single.

Written by Johnny Marks, who had previously penned “Rudolph the Red-Nosed Reindeer” and “A Holly Jolly Christmas,” in spite of her adult voice, Brenda took control of these vocals in a way that both infused them with the spirit of the holidays and uplifted them enough that they out smiles on the faces of all who heard the song.

Official Brenda Lee 7” Color Vinyl Purchase Link

Burl Ives: “A Holly Jolly Christmas” / “Rudolph The Red-Nosed Reindeer” [on “Opaque Snow White” vinyl]

With his smooth baritone and warm delivery, Burl Ives is synonymous with holiday music and his renditions of “A Holly Jolly Christmas” and “Rudolph the Red-Nosed Reindeer” are two of his most beloved seasonal staples.

The songs were first popularized in the classic 1964 television special, “Rudolph the Red-Nosed Reindeer,” sung by Ives as Sam the Snowman, and deliver instant feel-good nostalgia.

American folk singer Burl Ives could not have hoped for such a wondrous holiday notoriety to befall him when he released the (basically) double A-Sided single “A Holly Jolly Christmas” and “Rudolph the Red-Nosed Reindeer” on Decca in 1965 (all be they actually recorded in 1964).

Surprisingly, the single peaked at #32 on Billboard’s Best Bets For Christmas album chart on December 2nd, 1967, but then again, the original version had already been released as a single the previous year, with a B-side of “Snow for Johnny.”

Official Burl Ives 7” Color Vinyl Purchase Link

Chuck Berry: “Run Rudolph Run” / “Merry Christmas Baby” [on “Evergreen” vinyl]

Released in 1958, Chuck Berry’s “Run Rudolph Run” showcases the Father of Rock and Roll’s signature guitar riffs and inimitable vocals in the playful twist on the Christmas narrative. Its infectious rhythm and lively tempo have cemented it as a rock holiday staple.

The R&B holiday standard, “Merry Christmas Baby,” is a more soulful, blues-infused take on Christmas cheer. With its smooth, emotive vocals and laid-back groove, it contrasts with Berry’s usual rock exuberance, demonstrating his versatility and adding a touch of holiday romance to the season.

Written by Chuck Berry, but credited to Johnny Marks and M. Brodie (due to Marks’s trademark on the character of Rudolph the Red-Nosed Reindeer), the track was first recorded by Berry in 1958 and released as a single on Chess Records soon thereafter.

For those that have not figured out yet, the song is a 12-bar blues, musically similar to Berry’s popular and recognizable song “Johnny B. Goode,” and melodically similar to his song "Little Queenie", the latter of which was released shortly after, in 1959.

Official Chuck Berry 7” Color Vinyl Purchase Link

Ella Fitzgerald: “Sleigh Ride” / “Jingle Bells” [on “Apple Red” vinyl]

Ella Fitzgerald’s takes on “Sleigh Ride” and “Jingle Bells,” from her immortal 1960 album, Ella Wishes You A Swinging Christmas, exemplifies her remarkable ability to infuse classic holiday songs with her unique jazz style and vocal sophistication.

“Sleigh Ride” captures the exuberance and whimsy of the winter season with its swinging rhythms and Fitzgerald’s smooth, playful delivery. The song’s lively tempo and engaging arrangement showcase her exceptional phrasing and dynamic range. Similarly, her rendition of “Jingle Bells” is a joyous and upbeat interpretation that injects a jazzy twist into the traditional carol.

Interestingly, it was The Boston Pops’ instrumental version that was the original, and Leroy Anderson recorded a (slightly faster) instrumental version the following year. Down the line and stars such as Big Crosby, Johnny Mathis, Ray Conniff and famously The Ronettes all covered it, but come 1960 it was the turn of Ella to add her vocals to the light orchestra standard.

Official Ella Fitzgerald 7” Color Vinyl Purchase Link

Frank Sinatra: “Jingle Bells” / “Silent Night” [on “Evergreen” vinyl]

Frank Sinatra’s interpretations of “Jingle Bells” and “Silent Night” from his beloved 1957 album, A Jolly Christmas From Frank Sinatra, highlight his unparalleled ability to bring a sophisticated touch to holiday music.

On “Jingle Bells” the classic song is transformed with brilliant orchestration by Gordon Jenkins, a swinging rhythm and Sinatra’s strong, sonorous vocal. “Silent Night” is a beautifully sung interpretation of the traditional carol, with Sinatra perfectly capturing the spiritual essence of the holy season with his iconic voice.

The singer/actor nicknamed the Chairman of the Board and latterly Ol’ Blue Eyes really brought this song to life when he recorded it for his single back in 1957 for his Christmas album.

Word has it that he merrily sang the famous lines “Jingle bells, jingle bells, jingle all the way/Oh, what fun it is to ride in a one-horse open sleigh” on a hot August day!

Official Frank Sinatra 7” Color Vinyl Purchase Link

Nat King Cole: “The Christmas Song” / “Deck The Hall” [on “Opaque Baby Blue” vinyl]

Nat King Cole’s holiday classics, “The Christmas Song” and “Deck the Hall,” are timeless exemplars of his velvety vocal style and smooth, evocative interpretations.

“The Christmas Song” (commonly known as “Chestnuts Roasting on an Open Fire”), re-recorded and released in 1961 by Cole following several other successful versions is perhaps Cole’s most iconic holiday tune, capturing the warmth and nostalgia of Christmas with its rich, comforting melody and Cole’s tender delivery, backed by a full orchestra arranged and conducted by Ralph Carmichael.

“Deck the Hall,” released on his 1960 album, The Magic Of Christmas, brings his joyful and spirited energy to the traditional carol. Together, these tracks highlight Cole’s exceptional ability to evoke the full spectrum of holiday emotions.

As noted, back in 1946, Nat King Cole became the first recording artist to wrap his lush vocals around what would become a standard of the holiday season, “The Christmas Song,” but interestingly enough, the song was actually written by a different crooner, the much beloved Mel Tormé.

Official Nat King Cole 7” Color Vinyl Purchase Link

All the Official 7” Color Vinyl Purchase Links

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Title - Prana
Artist - Tomohiro Mori

For those unaware, in 2020, due to the COVID-19 pandemic, Tomohiro Mori was forced to temporarily return to his hometown of Fukuoka, Japan, from his base in New York. During this period, he worked on creating music with local musicians and developed these compositions through performances on domestic tours.

After returning to New York in 2022, Tomo collaborated with his close musical friends, including trumpeter Benny Benack III, to fine-tune each track, leading to the creation of this album. He explored the expressive potential of the classic jazz style, bebop, and handled all aspects of the album himself, including performance, composition, string arrangements, and production.

Additionally, internationally highly regarded percussionist Keita Ogawa, known for his work with the Grammy Award-winning band Snarky Puppy, contributed to the album. The title track, “Prana,” meaning energy or life force, highlights Tomo’s vibrant work, influenced by his experiences in Japan and New York over the past few years.

1. Genesis
2. Coast
3. Prana
4. Pedalada
5. Let Me Stay
6. Osterville
7. Hazy Game
8. Racoon
9. Heights

This scintillatingly crafted new album opens on the veritably cinematic, soaring and sweeping Genesis, before taking a much quieter, less flared approach to Coast, then we get the gently fervent, jazz-blues of the titular Prana and then the wholly impassioned Pedalada is brought forth.

Along next is the supremely elegant Let Me Stay and the languishingly ornate Osterville, and they are in turned followed seamlessly by the playfully flirtatious Hazy Game, the recording rounding out on the robustly rhythmic Racoon, closing on the sheer elegance of Heights.

The album cover design is inspired by the idea of an “invincible raccoon, scarred but empowered by the pandemic, defeating enemies (the virus and its effects) and forging a new future.” You will not want to miss Tomohiro Mori’s future activities, which reflect the strength he has gained through overcoming the pandemic.

Drummer, composer and educator, Tomohiro Mori was born in Fukuoka, Japan in 1992. He started playing the drums at age 3 and piano at age 5. Being raised by musical parents, Tomo was exposed to music at a very early age. His mother and father, who played piano and guitar respectively, formed a family band and played Beatles covers, in which Tomo was an active part of.

Originally, Tomo wanted to form a band with friends around his age. Although he initially did not have a strong interest in jazz, his pianist friend called Tomo to form a jazz band. Finally, he started playing jazz and formed a jazz band with his friends when he was thirteen years old. He has performed in gigs and music festivals around his hometown with this group.

After studying at Berklee College of Music in Boston, Massachusetts, he released three albums “Grand Slam”, “Uptown Bound”, and “Prana” under his name and has become one of the most promising artists in New York City. He also plays a vital role in connecting the jazz scenes of New York and Japan.

www.tomohiromori.com

Tomohiro Mori @ Facebook

Tomohiro Mori @ Instagram

Title - Field of Stars
Artist - John McCutcheon

For those unaware, when John McCutcheon returned from his Australian tour on March 16th, 2020, he was ready to record a new album. He had booked studio time and hired musicians months in advance.

Well, we know what happened and so he put the songs on the shelf and figured he’d start up again when it was safe to gather some of your best friends into a cozy, windowless studio.

The pandemic provided a wealth of material all on its own and now, over four years and four subsequent albums later, he is taking those songs down from the shelf for the album Field of Stars.

But, whilst some still felt right, others not so much. Plus, there were plenty of new songs vying to be heard. So he spent a lot of time writing with a bunch of his pals on Zoom during lockdown and a handful of those songs found themselves into this collection. It isn’t at all what he planned back in early 2020, but it feels just right now, he has admitted.

Whether celebrating small moments of oft-forgotten history, heroes that quietly stood up, family, friends, birthdays, a table grace, walking an ancient pilgrimage, or the simple joy of dancing through an entire lifetime, these songs have lived with John for a while now and it’s good to get them out on their little coltish legs and begin to do their work.

Simply put, he has now turned them loose to all of us now and he hopes we find them good companions.

1. Here [4:32]
2. Field of Stars [6:19]
3. The Hammer [4:15]
4. Hell & High Water [4:31]
5. MS St. Louis [4:21]
6. Stubby [4:25]
7. Only Ones Dancing [4:26]
8. At the End of the Day [4:21]
9. Tikkun Olam [3:55]
10. Redneck [4:40]
11. Too Old to Die Young [4:34]
12. Tired [3:43]
13. Peter Norman [4:33]
14. Waiting for the Moon [3:19]
15. Blessing [3:22]

This magnificently crafted new recording opens on the ornately spun beauty of Here and the impassioned title track Field of Stars and then we get the spirited The Hammer, an aching yearn that drives Hell & High Water, the dutiful story told within MS St. Louis, before both the enthusiastic Stubby and the beautiful balladry of Only Ones Dancing are brought forth.

Along next is the emphatically melodious At the End of the Day and the spirited Tikkun Olam, and they are in turn followed seamlessly by the backwoods, banjo-picking rhythms of Redneck, the decadent dance floor swirls and twirls of Too Old to Die Young, the gentle ballad Tired, the album rounding out on the foot-tapper Peter Norman, the lushly-crafted Waiting for the Moon, closing on the heartwarming prayer Blessing.

John McCutcheon is an American folk music singer-songwriter and multi-instrumentalist who has produced 40 albums since 1970. He is regarded as a master of the hammered dulcimer, and is also proficient on many other instruments including guitar, banjo, autoharp, mountain dulcimer, fiddle, and jawharp.

Known best for his prolific work in the field of children’s music, John McCutcheon has consistently produced both quality children’s albums and folk albums since the early ’70s. McCutcheon is first and foremost an instrumentalist. Like thousands of others in the ’60s, McCutcheon, a Wisconsin native, taught himself how to play a mail-order guitar and joined the local folk scene. His interest became more serious, however, when he sought to find the roots of this music.

McCutcheon headed for Appalachia and learned from some of the legendary greats of traditional folk music. Along the way, he became adept at a multitude of instruments, including fiddle, banjo, guitar, autoharp, jaw harp, and especially the hammered dulcimer. McCutcheon is considered one of the undisputed masters on the hammered dulcimer and adapts much of his music around the instrument.

With his deep roots in American traditional music, his approach to writing reflects both a simplicity and a layered complexity that creates songs that are always more than they seem. “He is a master at the difficult craft of the ballad,” touted the Boston Globe. “Storytelling with the richness of fine literature,” added the Washington Post. “One of our country’s best songwriters,” said Pete Seeger.

John McCutcheon @ Facebook

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Title - Stop to Start - The Atco & WMOT Recordings (73-77)
Artist - Blue Magic

SoulMusic Records (SMR) in association with The Second Disc is proud to present the first-ever definitive 6CD box set by the legendary Philadelphia quintet founded by Ted Wizard Mills, Vernon Sawyer, Wendell Sawyer, Keith Beaton, and Richard Pratt.

Entitled Stop to Start - The Atco & WMOT Recordings (1973-1977), this amazing 74-track collection includes expanded editions of Blue Magic’s five full-length albums for Atco and WMOT Records as well as all of the group’s live performances from their sizzling concert album with Major Harris and Margie Joseph.

Oh, and it also contains come wonderful bonus tracks, including rare single versions and B-sides plus remixes from Tom Moulton and Mike Maurro.

Led by falsetto singer Ted Wizard Mills – following in the footsteps of his influences, The Stylistics’ Russell Thompkins, Jr. and The Delfonics’ William Hart – Blue Magic recorded some of the richest and most beautiful ballads of the 1970s as well as uptempo floor-fillers that set the stage for the disco era.

Key tracks include Blue Magic’s signature song “Sideshow” as well as ‘Three Ring Circus’, ‘Just Don’t Want to Be Lonely’, ‘Stop to Start’, ‘Grateful’, ‘Look Me Up’, and a duet with soulful songstress Margie Joseph on ‘What’s Come Over Me’.

Includes productions from Philly soul and disco titans Norman Harris and Bobby Eli as well as Earth, Wind & Fire collaborator Skip Scarborough while musical contributors include Vincent Montana, Jr., Ronnie Baker, Earl Young, Jack Faith, Dave Crawford, and members of the legendary MFSB.

The deluxe booklet designed by Roger Williams includes liner notes by The Second Disc’s Joe Marchese drawing on extensive new interviews with WMOT Records co-founder Alan Rubens and acclaimed songwriter Vinnie Barrett (‘Sideshow’, ‘Three Ring Circus’) as well as archival quotes from Bobby Eli, Ted Wizard Mills, Vernon Sawyer, and the members of Blue Magic. The booklet also features rare and unseen photos of the group.

Disc One: BLUE MAGIC (1974)
1. SIDESHOW 2. LOOK ME UP 3. WHAT’S COME OVER ME 4. JUST DON’T WANT TO BE LONELY 5. STOP TO START 6. WELCOME TO THE CLUB 7. SPELL 8. ANSWER TO MY PRAYER 9. TEAR IT DOWN 10. GUESS WHO [Bonus Track] 11. LOOK ME UP (SINGLE EDIT) [Bonus Track] 12. WHERE HAVE YOU BEEN [Bonus Track] 13. JUST DON’T WANT TO BE LONELY (SINGLE EDIT) [Bonus Track] 14. WELCOME TO THE CLUB (UK SINGLE EDIT) [Bonus Track] 15. LOOK ME UP (TOM MOULTON REMIX) [Bonus Track] 16. SIDESHOW (MIKE MAURRO EXTENDED MAGIC REMIX) [Bonus Track]

In truth, when Blue Magic hit big in 1974, their smooth, polished sound owed a lot to the Bell/Creed school; this incredibly promising debut album finds the Philly vocal group wearing their Stylistics/Delfonics/Moments heritage like a badge of honor. But the LP also demonstrates that Blue Magic was a fine group in their own right.

The single that put Blue Magic on the map was ‘Sideshow,’ a hit ballad that is as clever as it is melancholy. ‘Sideshow’ describes a circus, but not an ordinary circus - a circus in which all of the attractions are noteworthy because of their terrible luck when it comes to romantic relationships. The tune is simply magnificent; like so many great blues and country gems, ‘Sideshow’ finds a very witty way to talk about romantic disappointments.

But even though ‘Sideshow’ is one of Philly soul’s all-time classics, it isn’t the only song that makes this LP worth owning. The rest of the album is also superb, and that includes the snappy ‘Look Me Up,’ as well as dreamy, gossamer ballads like ‘Spell’ and ‘What’s Come Over Me’ (which Blue Magic revisited on a 1975 remake that features singer Margie Joseph).

Disc Two: MAGIC OF THE BLUE (1974)
1. THREE RING CIRCUS 2. STRINGIN’ ME ALONG 3. YOU WON’T HAVE TO TELL ME GOODBYE 4. NEVER GET OVER YOU 5. TALKING TO MYSELF 6. LET ME BE THE ONE 7. MAYBE JUST MAYBE (WE CAN FALL IN LOVE AGAIN) 8. LOVE HAS FOUND ITS WAY TO ME 9. WHEN YA COMING HOME 10. LOOKING FOR A FRIEND 11. THREE RING CIRCUS (SINGLE EDIT) [Bonus Track] 12. LOVE HAS FOUND ITS WAY TO ME (SINGLE EDIT) [Bonus Track] 13. LOOK ME UP (TOM MOULTON EXTENDED REMIX) [Bonus Track]

In my humble opinion, Blue Magic’s sublime sophomore effort manages to retain the delicate beauty of their debut while summoning a more confident, robust approach to group harmony. The Magic of the Blue is above all a celebration of the human voice in all its myriad forms of expression.

Whether transcending contrived ballads like ‘Three-Ring Circus’ (a bland rewrite of the earlier hit ‘Sideshow’) or soaring on the strength of up-tempo dance tunes like the excellent title cut, Blue Magic’s harmonies are impeccable, showcased by arrangers Norman Harris, Bobby Eli, and Vince Montana in a series of elegant, richly detailed contexts as unique to Philadelphia as the Liberty Bell.

Disc Three: THIRTEEN BLUE MAGIC LANE (1975)
1. THE LONELIEST HOUSE ON THE BLOCK 2. CHASING RAINBOWS 3. BORN ON HALLOWEEN 4. HAUNTED (BY YOUR LOVE) 5. I LIKE YOU 6. MAGIC OF THE BLUE 7. WE’RE ON THE RIGHT TRACK 8. STOP AND GET A HOLD OF YOURSELF 9. MARGIE JOSEPH & BLUE MAGIC: WHAT’S COME OVER ME 10. MARGIE JOSEPH & BLUE MAGIC: YOU & ME (GOT A GOOD THING GOING) [Bonus Track] 11. GRATEFUL [Bonus Track] 12. MAGIC OF THE BLUE (VOCAL VERSION) [Bonus Track] 13. STOP AND GET A HOLD OF YOURSELF (SINGLE EDIT) [Bonus Track] 14. GRATEFUL (SINGLE EDIT) [Bonus Track]

Without a shadow of a doubt, the third Blue Magic LP continues to subtly refine and expand the group’s approach. While their gossamer harmonies remain squarely at the forefront, Thirteen Blue Magic Lane features more pronounced club grooves than on their previous records, bowing to the inexorable shift from classic Philly soul to disco.

Arranged by Norman Harris and Ron Kersey, several songs feature electronic textures that add surprisingly complementary muscle to Blue Magic’s delicate vocals. In fact, despite the presence of sumptuous ballads like ‘Chasing Rainbows’ and ‘Loneliest House on the Block,’ up-tempo fare like ‘We’re on the Right Track’ is even better.

The times would later pass Blue Magic by, but for this glorious album, they were not only in lockstep with the prevailing attitudes but further ahead of the curve than any of their contemporaries.

Disc Four: MYSTIC DRAGONS (1976)
1. FREAK-N-STEIN 2. TO GET LOVE (YOU MUST GIVE LOVE) 3. SEE THE BEDROOM 4. MOTHER FUNK 5. SUMMER SNOW 6. ROCK N ROLL REVIVAL 7. TEACH ME (IT’S SOMETHING ABOUT LOVE) 8. MAKING LOVE TO A MEMORY 9. SPARK OF LOVE 10. FREAK-N-STEIN (SINGLE EDIT) [Bonus Track] 11. SUMMER SNOW (SINGLE EDIT) [Bonus Track]

All the while having epitomized the sweeter side of Philadelphia soul, allowing R&B lovers to fall in love with them album after album, thusly having always been associated with romantic ballads and slow jams (and definitely not tough, gritty funk), it came as a huge surprise when, in 1976, Blue Magic opened its fourth album, Mystic Dragons, with the very funky and very danceable ‘Freak-N-Stein.’

That infectious opener demonstrated that the Philadelphians were quite capable of handling funk, and they are every bit as inspired on the equally funky ‘Mother Funk.’ Also surprising is the exuberant ‘Rock N Roll Revival,’ which blends R&B with rock and is hardly the sort of tune one expected Blue Magic to record in 1976.

But the group doesn’t abandon ballads and slow jams on this Bobby Eli-produced LP for those who cherish its sweetly romantic side should have no problem getting into ‘Summer Snow,’ ‘To Get Love,’ or ‘Making Love to a Memory.’

Although not as essential as 1974’s Blue Magic or 1975’s Thirteen Blue Magic Lane, Mystic Dragons is a solid, rewarding effort that offers its share of surprises.

Disc Five: BLUE MAGIC/MAJOR HARRIS/ MARGIE JOSEPH - LIVE! (1975)
1. BLUE MAGIC, MAJOR HARRIS, MARGIE JOSEPH: I LOVE MUSIC 2. BLUE MAGIC: MEDLEY - (a) SPELL (b) YOU’RE MY FIRST, MY LAST, MY EVERYTHING (c) WE’RE ON THE RIGHT TRACK 3. BLUE MAGIC: MEDLEY - (a) TRY TO REMEMBER (b) STOP TO START 4. BLUE MAGIC: CHASING RAINBOWS 5. BLUE MAGIC: SIDESHOW 6. BLUE MAGIC: HAUNTED (BY YOUR LOVE) 7. BLUE MAGIC & MARGIE JOSEPH: WHAT’S COME OVER ME 8. BLUE MAGIC: BAD LUCK 9. BLUE MAGIC & MARGIE JOSEPH: I’M GONNA MAKE YOU LOVE ME 10. BLUE MAGIC & MARGIE

The fifth disc features a wonderful ten-track selection of live tracks, all coupled together for the time that Blue Magic, Major Harris and Margie Joseph took to the stage.

This delightful live recording, recorded in 1975 at Cherry Hill, NJ’s Latin Casino, finds Blue Magic sharing the bill with two other 70’s soulsters: Major Harris (an ex-member of the Delfonics and cousin of the late producer Norman Harris) and Margie Joseph (who is the only non-Philadelphian on the bill).

Blue Magic soar on inspired performances of their hits ‘Sideshow,’ ‘What’s Come Over Me’ (a duet with the talented if underrated Joseph), ‘We’re on the Right Track Now,’ and ‘Stop to Start,’ and Harris doesn’t let listeners down on the congenial ‘Loving You Is Mellow’ or his sexy 1975 smash ‘Love Won’t Let Me Wait’ (which was covered by Luther Vandross in 1989).

In truth, Joseph is quite enjoyable when she gives Paul McCartney’s ‘My Love’ the Northern soul treatment, although her performance of Morris Albert’s ‘Feelings" is undeniably the low point of this album. Joseph tries to inject some soul into Albert’s insipid, mushy ballad, but it doesn’t work. Joseph, for all her talent, cannot salvage one of the most insufferable easy listening songs of the 70’s, but it is what it is.

Disc Six: MESSAGE FROM THE MAGIC (1978)
1. CAN’T GET YOU OFF MY MIND 2. IF YOU WANT ME TO 3. LADY IN MY WORLD OF LOVE 4. FOUR LEAF CLOVER 5. PURPLE PASSION 6. STILL IN LOVE WITH YOU 7. MESSAGE 8. SWEET WOMAN 9. I WAITED 10. I WAITED (SINGE EDIT) [Bonus Track]

Most of this albums songs were co-written by the group which meant that it was most definitely on the mellow side. Indeed, one reason for its lack of huge commercial success may have been that it was released at the height of disco. No matter, the album brims with great make-out music: the majestic ballads ‘Still in Love With You,’ ‘Sweet Woman,’ the samba-flavored ‘Can’t Get You off My Mind,’ and the glockenspiel clop, clop-laced slow jam ‘Lady in My World of Love.’

Blue Magic picks up the tempo a bit on the optimistic ‘Message’ though and so those who loved the group’s two gold singles, ‘Sideshow’ and ‘Three Ring Circus,’ won’t be disappointed. The slick and swift ‘I Waited’ is also included here in single edit form as a so-called bonus track.

With all tracks freshly remastered by Nick Robbins, ‘Stop to Start: The Atco & WMOT Recordings (1973-1977)’ is the ultimate celebration of one of soul music’s most enduring and beloved vocal groups. Hurry, hurry, step right on in!

Title - Landloper
Artist - Arild Andersen

Arild Andersen, one of jazz’s most widely acclaimed bassists, presents his first solo album. Characteristically broad in its musical scope and creative range, Landloper was recorded primarily at Oslo’s Victoria Nasjonal Jazzscene (with one piece recorded at Arild’s home).

Choice of repertoire in this recital reflects on Arild’s artistic journey, and, alongside Andersen originals (“Dreamhorse”, “Mira”, “Landloper”), we find Norwegian traditional music (“Old Stev”), a romantic jazz standard (“A Nightingale Sang In Berkeley Square”), and new light cast upon free jazz classics (Albert Ayler’s “Ghosts”, Ornette Coleman’s “Lonely Woman”, Charlie Haden’s “Song for Che”).

Andersen’s performances combine his masterful bass playing with real-time creation of electronic loops that bring an atmospheric dimension to solo playing and fresh opportunities for interaction.

1. Peace Universal [6:40]
2. Dreamhorse [4:24]
3. Ghosts / Old Stev / Landloper [7:48]
4. A Nightingale Sang in Berkeley Square [4:43]
5. Mira [4:32]
6. Lonely Woman / Song for Che [6:15]

Recorded in June 2020 at Victoria National Jazz Scene, Oslo, the album opens on the stoically elegant Peace Universal (written by drummer Bob Moses) and then brings us the ornately-hued, transcendentally-sculpted, albeit minimalist Dreamhorse, the melodiously humbling Ghosts / Old Stev / Landloper (the first track a spectral fragment of Albert Ayler’s music, the middle one a Norwegian traditional), and then along next is one of my own personal favorites, his veritably shimmering rendition of the jazz standard A Nightingale Sang in Berkeley Square, the recording rounding out on the dutifully dulcet Mira (named after a pulsating red giant star of variable appearance that expands and contracts periodically), closing on a magnificently majestic, ornately sculpted coupling from Ornette Coleman and Charlie Haden, Lonely Woman / Song for Che.

www.arildandersen.com

Title - To The Rising Moon
Artist - Stephan Micus

To the Rising Moon is Stephan Micus’ 26th solo album for ECM. It features instruments from Colombia, India, Xinjiang (China), Bavaria, Cambodia, Egypt and Borneo, but taking centre stage is the Colombian tiple, slightly smaller than an acoustic guitar.

The sunny plucked sound of the tiples alternates with darker bowed strings which bring a more meditative mood. It’s only in the final track, To the Rising Moon, that the two worlds of the plucked tiples and bowed strings finally come together.

It’s like a hymn to something that is eternally up there in the night sky, something consistent while there is so much turbulence in the world below.

Once again, Stephan Micus takes us on a unique musical journey to places unknown that couldn’t have been created or played by anyone else.

1. To The Rising Sun [4:01]
2. Dream Within Dream [4:04]
3. In Your Eyes [5:20]
4. The Veil [3:31]
5. Unexpected Joy [4:20]
6. Waiting For The Nightingale [4:35]
7. The Silver Fan [2:56]
8. Embracing Mysteries [7:00]
9. To The Lilies In The Field [4:21]
10. The Flame [3:57]
11. To The Rising Moon [7:09]

Recorded between 2021-2023 at MCM Studios, the album opens on the melodious To The Rising Sun (which, as noted, features the tiple, which has 12 steel strings in four triple courses and it’s a composition for two tiples here) and a yearning ache that resides within Dream Within Dream (which features six dilruba, a South Asian bowed instrument that Stephan gets to sound very lyrical and cello-like), and then we get the sculpted In Your Eyes (where three tiples plus voice, in the mood of a poetic love song, are coupled), the ornately bowed-stringed The Veil, and then comes the smoothly dutiful Unexpected Joy (built for two tiples).

Along next is the noted centerpiece of this majestic recording, the amalgamation of winds and strings on the euphorically emboldened Waiting For The Nightingale and the alternating tiple and bowed pieces continue within the dulcet The Silver Fan, the deep, cello-like sounds of the dilruba come to the fore on Embracing Mysteries, once again, two tiples are evident within the lamenting To The Lilies In The Field, the album rounding out on the use of tableharps - a contemporary instrument that Stephan last played on his 1978 album Till the End of Time - within The Flame, the two worlds of the plucked tiples and bowed strings finally coming together on the final track, the stoic, yet emphatically-imbibed To The Rising Moon.

www.stephanmicus.com

Title - Relations
Artist - Thomas Strønen

Musical messages from Oslo, New York, Basel and Lugano are juxtaposed and recombined on an absorbing recording that features Norwegian drummer Thomas Strønen solo and in a series of duets.

With such partners as Craig Taborn, Chris Potter, Sinikka Langeland and Jorge Rossy, the musical frame of reference is very broad here on Relations.

In summarizing the characters involved in Relations, the space where the story started – the highly responsive Auditorio Stelio Molo – should not be overlooked. “It’s my dream room to play in,” says Thomas Strønen. “Everything you do is so transparent. Every texture, every little beat. You have to be extremely accurate because it’s a proper acoustic room. When you hear the brushwork, it’s really loud. Even though I’m barely touching the drum, it resonates in the whole room. It can also be tense. You can’t overplay. I felt I had to take away everything that wasn’t absolutely necessary.”

Elements from Langeland’s archaic-sounding folk to Potter’s post-Coltrane saxophone and Taborn’s whirlwind modernist piano each find their place in a project that implies new threads of connectivity, new creative relationships.

1. Confronting Silence [4:04]
2. The Axiom Of Equality [2:15]
3. Weaving Loom [2:54]
4. Koyasan [2:44]
5. Beginners Guide To Simplicity [1:43]
6. Nemesis [2:07]
7. Nonduality [2:17]
8. Ephemeral [3:05]
9. Pentagonal Garden [4:03]
10. Arc For Drums [3:39]
11. Ishi [3:37]
12. KMJ [3:13]

The album was completed and mixed by Strønen and producer Manfred Eicher at Bavaria Musikstudios in Munich in February 2023, and opens on the simplicity of silence within the aptly-named Confronting Silence (its title borrowed from Toru Takemitsu’s Selected Writings) and the organically skittish one minute, sanguine and flirtatious the next The Axiom Of Equality, and then we are brought forth the robust Weaving Loom, the glistening Koyasan, the all-embracing call out of Beginners Guide To Simplicity, and then we are presented the furtive Nemesis.

Conceived and realized over a four year period, we continue onward with the delicately hued Nonduality and the joyfully spirited Ephemeral, and they are in turn backed seamlessly by the somber, yet embracing nature of Pentagonal Garden, the crystalline sounds that drive Arc For Drums, the recording rounding out on the precariously-crafted Ishi, closing on the languishing beauty of KMJ.

Thomas Strønen @ Facebook

Title - Samares
Artist - Colin Vallon

The signature-lyricism and melancholy of Colin Vallon’s compositions as well as his trio’s understated three-way interaction remain magically intact on Samares.

Yet, much has evolved in the sound of the Swiss pianist’s group since their last record for ECM, 2017’s Danse, among other things Vallon’s freshly introduced use of electronics to modulate his instrument’s pitch.

Dynamic extremes are explored and tuneful hooks – some melody -, some harmony -, others beat-based – patiently assembled, often completed in mesmerizing fashion.

Where subtle rhythmic twists and harmonic progressions constructed around piano triads recall cutting-edge inspirations from the world of art-rock, other expositions reveal a tight-knit jazz trio elaborating a chamber sound focused on close listening and reacting.

1. Racine (Root) [3:25]
2. Mars [6:46]
3. Lou [5:38]
4. Ronce (bramble or blackberry) [4:06]
5. Étincelle [6:16]
6. Timo [4:45]
7. Samares [3:39]
8. Souche [3:33]
9. Brin (a twig or blade of grass) [5:03]

Recorded at Lugano’s Auditorio Stelio Molo in 2023, and produced by Manfred Eicher, the album opens on the veritably crystalline, introspective Racine and the ornately supreme Mars, and then we get the gently cinematic Lou, a forthright fervency that drives Ronce and the demure, upright bass-led Étincelle.

With the French “Samares” referring to the samara fruit that, visually a blend between a seed and a leaf, is characterized by its wing-like flaps), we continue onward with the structured ambience of Timo (with both this track and the aforementioned Lou both named after Vallon’s children) and the free flowing, melodious majesties sewn within the rubato-flow of the titular Samares, and they are in turn backed seamlessly by the shimmeringly emboldened Souche, the recording closing on the demurely dulcet elegance of Brin.

www.colinvallon.com

Title - Let It Rock: The San Francisco Civic Center Live
Artist - Flamin’ Groovies

This lineup includes the classic Groovies core of Cyril Jordan, George Alexander, and Chris Wilson, and was recorded in October 1980 just as the band’s contract with Sire Records expired, introducing an element of uncertainty into the band’s future.

This 12-track live set list recorded on October 26th, 1980, at the San Francisco Civic Center, with 3 bonus tracks recorded days prior at the Old Waldorf, features their classic takes on the Beatles, Stones, Byrds and others along with some Groovies classics.

The show hasn’t ever been released and is available on CD and digital. A limited-edition orange crush vinyl pressing will be available for RSD Black Friday and will be available exclusively at independent record stores.

1. Dirk Dirksen Introduction
2. Never Been In Love
3. Dizzy Miss Lizzy
4. Back In The U.S.S.R.
5. River Deep Mountain High
6. Around And Around
7. Let It Rock
8. A Hard Day’s Night
9. Baby Please Don’t Go
10. I’ll Feel A Whole Lot Better
11. Paint It Black
12. Juju Man
13. Do I Love You
14. Fall On You
15. Shake Some Action

This vibrantly alive live recording opens after a sarcastic, yet funny Dirk Dirksen Introduction and then they are straight into the guitar jangling Never Been In Love, the Beatles-esque Dizzy Miss Lizzy, a dutiful, albeit it raw Back In The U.S.S.R. and they are followed by the robust fun of River Deep Mountain High, the rockabilly-hued Around And Around and the Chuck Berry-esque Let It Rock.

Along next is a blisteringly anthemic A Hard Day’s Night, the guitar-fuzz brilliance of an electric Baby Please Don’t Go and the pop-folk flashback within I’ll Feel A Whole Lot Better and they are in turn backed by a hauntingly brilliant, drum-led Paint It Black, the throaty Juju Man, then we get brought forth the harmonized Do I Love You, the album rounding out on the pulsating Fall On You, closing on the gently rambunctious Shake Some Action.

Musicians:
CYRIL JORDAN Guitar, Vocals
CHRIS WILSON Guitar, Vocals
MIKE WILHELM Guitar, Vocals
GEORGE ALEXANDER Bass, Vocals
DAVID WRIGHT Drums

Flamin’ Groovies @ Facebook

www.liberationhall.com

Title - Over There: Live at The Venue, London Concert
Artist - The Blasters

Americana music legends, The Blasters were recorded on their first international tour in May of 1982 at the Venue in London England. Six of those tracks were released on Slash Records as a 12-inch EP later that year. Four more tracks were uncovered and included on the Rhino/WB anthology “Testament” in 1997.

As part of a catalog deal for the Blasters recordings with Liberation Hall the label has uncovered thirteen more tracks to release the complete concert.

The band is firing on all cylinders as they were taking off in London after Shakin’ Stevens version of the Dave Alvin-written “Marie, Marie” hit the top 20 of the UK charts. It is quintessential listening, and a magical music moment uncovered for any fan of the band.

The CD booklet includes new liner notes from Chris Morris, rare photos and memorabilia images. Vinyl version is available exclusively for Record Store Day and available at indie retail shops.

1. This Is It
2. Crazy Baby
3. No Other Girl
4. What Will Lucy Do?
5. Border Radio
6. I Don’t Want To
7. Rock Boppin’ Baby
8. Tag Along
9. I Love You So
10. Got Love If You Want It
11. Walkin’ With Mr. Lee
12. I’m Shakin’
13. Hollywood Bed
14. Go, Go, Go
15. Stop The Clock
16. Marie, Marie
17. American Music
18. So Long Baby Goodbye
19. Roll ’Em Pete
20. High School Confidential
21. These Arms Of Mine
22. Keep A Knockin’
23. Barn Burning

After a very quick introduction, this brilliantly atmospheric flashback live album opens on the pop-rock bounce of This Is It, the frenetically traintrack-hued Crazy Baby, the feisty No Other Girl and the impassioned What Will Lucy Do?, and then we get the pop-rocker Border Radio, the rambunctious I Don’t Want To, the vibrant, Elvis-imbibed Rock Boppin’ Baby and the roustabout Tag Along, before the impulsive I Love You So, the harmonica-driven Got Love If You Want It and the horn-driven Walkin’ With Mr. Lee are unleashed.

One of the bedrock acts that formed the template for the “Americana” music movement, along next is the low slung blues rhythms of I’m Shakin’, the piano-driven Hollywood Bed, the guitar fest of Go, Go, Go and the rockabilly-grooved Stop The Clock, and they are in turn backed seamlessly by the perfectly formed rockabilly resonance of Marie, Marie, the foot-tapping rocker American Music, the propellant So Long Baby, Goodbye, the show rounding out on the piano blues of Roll ’Em Pete, the expressive rock ’n’ roll of High School Confidential, the low slung ballad These Arms Of Mine, closing on one of my own personal favorites, the foot to the floor rocker Keep A Knockin’ and the aptly-titled Barn Burning.

Musicians:
Phil Alvin: Vocals, Guitar
Dave Alvin: Lead Guitar
Bill Bateman: Drums
John Bazz: Bass
Lee Allen: Tenor sax
Steve Berlin: Baritone sax

www.vincenzovirgillito.com

www.theblasters.com

www.liberationhall.com

Title - I Want To Be Happy
Artist - Liz Cole

Liz Cole, who always exudes happiness in her voice, has recorded her long overdue debut album, I Want To Be Happy, which is due out on January 28th, 2025.

She picked out ten of her favorite songs which range from swing, a Eubie Blake ballad and a song from the Bing Crosby/Frank Sinatra film High Society to a Brazilian number and a rarely performed Erroll Garner tune.

For this highly enjoyable project, the singer is joined on various selections by guitarist Larry Koonse, the great Otmaro Ruiz or Jacob Mann on piano, Darek Oles, Edwin Livingston or Jonathan Richards on bass, drummer Aaron Serfaty, and guest vibraphonist Jackson Irvine.

1. I Want To Be Happy
2. Mean To Me
3. You’re Sensational
4. I’d Give A Dollar For A Dime
5. Love
6. Tú
7. Lobo Bobo
8. Things To Do (Passing Through)
9. Lazy River
10. I’m Still Here

This lushly seductive set opens on the chipper title track I Want To Be Happy and the languishing Mean To Me and they are followed by the flourishing You’re Sensational, the low slung foot tapper I’d Give A Dollar For A Dime and then the sheer elegance within Love is delivered.

Along next is the all-embracing Tú, which is itself backed by the gently fervent rhythms that drive Lobo Bobo, the joyfully euphoric Things To Do (Passing Through), the recording rounding out on the softly mesmerizing Lazy River, closing on the comforting ballad I’m Still Here.

www.lizzycolemusic.com

Title - Santa Monica Session
Artist - Doug MacDonald

For those not in the DMAC-know, Doug MacDonald has recorded and released at least ten rewarding albums during the past seven years. But rather than repeat himself or rest on his laurels, the straight ahead jazz guitarist varies the instrumentation and personnel on each project while keeping the musical quality consistently high, giving every recording its own personality and purpose.

For his brand new album Santa Monica Session, MacDonald’s arrangements transform five veteran standards and three of his own originals into Latin and Afro-Cuban jazz.

He is joined on the quartet by Bill Cantos on piano, Fender Rhodes and organ, bassist Hussain Jiffry and drummer-percussionist Kevin Winard. In addition to being masterful musicians, each of the guitarist’s sidemen are versatile and quite adept at playing creative Latin rhythms.

1. Lady Bird
2. Minor Makeup
3. Prisoner Of Love
4. Tele Time
5. Walkin’
6. Pent-Up House
7. DMAC
8. Perdido

This dutifully cultured new recording from the master guitarist, opens on the spirited Lady Bird and then slides effortlessly into the warm embrace of Minor Makeup, the playful Prisoner Of Love, and then we get the veritably glistening Tele Time.

Along next is the flirtatious Walkin’ which is backed seamlessly by the robustly joyful Pent-Up House, the album rounding out on the sheer elegance of the free-flowing DMAC, closing on the a dutiful hipsway that drives Perdido.

Musicians:
Doug MacDonald - guitar
Bill Cantos - organ, piano
Hussain Jiffry - bass
Kevin Winard - drums

www.dougmacdonald.net

Title - Precondition
Artist - Vincenzo Virgillito

For those not aware, Vincenzo Virgillito is a masterful musician, whether playing acoustic bass, electric bass, or Fretless five ans four stringed basses. He has the ability to let the music breathe and tell its story while adding unusual sounds and colors that complement his lyrical statements.

On his brand mew album Precondition, Virgillito is the only performer, which when you listen to the album, you might find rather astonishing. Other than on the melancholy and hauntingly beautiful Stars In The Mirror (my sons), he does not use any overdubbing. He utilizes his various basses and analog pedals to create colorful and thought-provoking music that grows in interest with each listen.

1. Through Windows
2. Reset
3. Word Drops (Jacob’s Midnight)
4. Reset II
5. Stars In The Mirror (my sons)
6. Goodbye Pork Pie Hat
7. Reset III Off The Time
8. Segment
9. Reset IV Disc-On-Nect Space
10. Danny Boy (Remembering Bill Evans)
11. Reset V Transiens
12. ... And Then Stop And Go

This brilliantly sculpted new recording opens on the inquisitively dulcet splendor of Through Windows, the startlingly jagged Reset and the melodious Word Drops (Jacob’s Midnight) and they are neatly followed by the intriguing Reset II, the brooding Stars In The Mirror (my sons), and then a playful yearn comes forth within the Charlie Mingus track Goodbye Pork Pie Hat.

Along next is the industrially-honed Reset III Off The Time, the ambient Segment and the rhythmic swagger of Reset IV Disc-On-Nect Space, and they are followed by the gentle divaricate of Danny Boy (Remembering Bill Evans), the music rounding out on the voluminous Reset V Transiens, closing on an elegant ache that threads throughout ... And Then Stop And Go.

Title - Secret Message
Artist - Joe Syrian Motor City Jazz Octet

Joe Syrian, veteran drummer and leader of the Motor City Jazz Octet, offers a refreshing, classics-oriented, eclectic set of American pop standards from the AOR greats of the 20th century like the Beatles, Joni Mitchell, Earth Wind & Fire, Tower of Power, and Stevie Wonder.

“Popular music resonates with people and works for many audiences,” Syrian says simply. “We just take that and mold it to our unique framework.”

And he has the best men for the job in pianist Adam Birnbaum, guitarist Paul Bollenback, acoustic and electric bassist Lorin Cohen, trombonist Doug Beavers, alto and baritone saxophonist Carl Maraghi, and trumpeter and flugelhornist Nick Marchionne. (Tenor saxophonist Tim Reis, and tenor saxophonist and bass clarinetist Dave Reikenberg, each appear on a handful of tracks).

Along with Birnbaum and Beavers, Dave Hanson, John Fedchock, David Caffey, and David Berger demonstrate their impressive arrangement acumen.

Special guest artists include Joe Locke, Luisito Quintero, and vocalist Kenny Washington.

1. Bye Bye Blackbird [5:26]
2. Star Eyes [5:52]
3. People Make the World Go Round (feat. Joe Locke & Kenny Washington) [6:03]
4. Here, There and Everywhere [6:27]
5. Don’t You Worry ‘Bout a Thing [5:27]
6. This Masquerade [6:44]
7. Night and Day [5:48]
8. I Should Care [4:48]

This brilliantly sculpted new recording opens on the dutifully swinging Bye Bye Blackbird and follows that up with the flourishing Star Eyes, the dulcet People Make the World Go Round (featuring Joe Locke and Kenny Washington), and then we get the perkily flirtatious Here, There and Everywhere brought forth.

Along next, the veteran drummer next brings us a groovy Don’t You Worry ‘Bout a Thing which is in turn backed supremely by an all-embracing This Masquerade the music rounding out on a simply sparkling Night and Day, closing on the rhythmically charming I Should Care.

Musicians:
Joe Syrian - drums, leader
Adam Birnbaum - piano
Paul Bollenback - guitars
Lorin Cohen - acoustic and electric bass
Carl Maraghi - alto and baritone saxophones
Tim Ries - tenor saxophone (1,2,4,5,6)
Dave Rieckenberg - tenor saxophone (7,8), bass clarinet (3)
Nick Marchionne - trumpet, flugelhorn
Doug Beavers - trombone

Special Guests:
Kenny Washington - vocal (3)
Joe Locke - vibraphone (3)
Luisito Quintero - percussion (3,5)

www.joesyrianmotorcityjazzoctet.com

Title - Ant - Collection of Sounds Vol. 2
Artist - Ant

For those unaware, Anthony “Ant” Davis is a distinguished hip-hop producer, one-half of the renowned duo Atmosphere, and a founding member of independent record label Rhymesayers Entertainment.

His decades-long career of beat-making has also included works for MF DOOM, Brother Ali, Murs, Rav, Sage Francis and a dozen others. Raised in a military family, his nomadic upbringing exposed him to many diverse influences and, coupled with his father’s love for collecting records, laid the groundwork for his deep appreciation for all sorts of music.

Ant’s latest endeavor, Collection of Sounds, is a four-volume series of instrumental works showcasing the breadth and depth of his musical expertise.

The Collection of Sounds series offers a window into Ant’s creative journey, reflecting his evolution as an artist over the years. Drawing from a vast vault of unreleased material, he’s exhumed cross sections of his catalog with surgical precision, organizing songs by sound rather than mere chronology.

Collection of Sounds: Vol. 2 is the second in this much beloved series of previously unreleased material from the vault of the distinguished hip-hop producer, and aside from the usual ways it has been released, we were lucky enough to be sent a custom yellow vinyl, that comes in a die-cut jacket with a yellow translucent window on its front.

Side A:
1. A Fly Sound Collection
2. Pain Or
3. Changes
4. Velvet Ish
5. A Sagittarian Wrote It
6. Willie Loop
7. I Got One
8. Don’t Do Me Like That Again

Putting the vinyl album on the turntable, something that I always love to do, this richly textured set of soundscapes opens on the smoothly funky A Fly Sound Collection, the soulful Pain Or, the reflective tones within Changes and the mellow-grooved Velvet Ish, and they are followed by the introduced, deep soul of A Sagittarian Wrote It, the flourishing, minute long Willie Loop, the collective I Got One, the first side rounding out on the all-embracing harmonies and rhythms that encapsulate Don’t Do Me Like That Again.

Side B:
9. Side Four Coloring
10. Cutting Room Floor Felt Beat No 117
11. Size 17 Shirt
12. Segue Way Freak
13. Claps, Cuica, Synth Part 1
14. Claps, Cuica, Synth Part 2
15. Damn Koop 2012
16. Just Didn’t Fit In 2004

Flipping the vinyl album over, re-dropping the needle, the first track of the second side are the star gazing harmonies within Side Four Coloring, the funkalicious Cutting Room Floor Felt Beat No 117 and the retro ambiance of Size 17 Shirt, and they are in turn backed seamlessly by the spoken word-driven smoothness of Segue Way Freak, the aptly-titled, soulfully-infectious duo Claps, Cuica, Synth Parts 1 and 2, the second collection coming to a close on the electronically cultured Damn Koop 2012 and the low slung, old school funk and slide of Just Didn’t Fit In 2004.

The second installment of his instrumental series, Collection of Sounds: Vol. 2, features smooth beats, intricate sampling, and lush, jazzy layers that create an immersive atmosphere. He masterfully incorporates sly riffs and funk-laden grooves, stirring sentimentality and highlighting his ability to craft emotive, engaging music.

The result is a sonically complex album where Ant blends funk, soul, classic R&B, and hip-hop influences, evoking a nostalgic sense of bygone eras.

www.rhymesayers.com

Official 3CD Purchase Link

Title - Beethoven: The Early Quartets (3CD)
Artist - Calidore String Quartet

The third and final installment in their award-winning series, the Calidore Quartet return with a three-disc release of Beethoven Early Quartets, Vol. 3 (out now via Signum Classics).

Their previous Beethoven recordings have been described as highly collectible by BBC Music Magazine. The first album of Late Quartets won the Chamber Music Award at the BBC Music Magazine Awards 2024, and the second awarded Recording of the Month by Gramophone Magazine.

The contents of this recording project serve as a snapshot of their fourteen years of working, growing, listening and collaborating together. “Our interpretation speaks to the influences of our teachers and the great traditions associated with this repertoire, but also to that of our own generation, contemporary research, style and experience. Though this music speaks in a language that is hundreds of years old, it’s message remains immediate, relevant and comforting to listeners of today and of generations to come even, and especially, in the most challenging of times.”

Their interpretations of Beethoven are already critically acclaimed with performances at the Lincoln Centre planned as part of their residency.

Disc 1:
1. String Quartet No. 1 in F major, Op 18 No 1 I. Allegro con brio
2. String Quartet No. 1 in F major, Op 18 No 1 II. Adagio affettuoso ed appassionato
3. String Quartet No. 1 in F major, Op 18 No 1 III. Scherzo. Allegro molto
4. String Quartet No. 1 in F major, Op 18 No 1 IV. Allegro
5. String Quartet No. 2 in G major, Op 18 No 2 I. Allegro
6. String Quartet No. 2 in G major, Op 18 No 2 II. Adagio cantabile
7. String Quartet No. 2 in G major, Op 18 No 2 III. Scherzo. Allegro
8. String Quartet No. 2 in G major, Op 18 No 2 IV. Allegro molto, quasi presto

The first disc opens on the four piece String Quartet No. 1 in F major, Op 18 No 1: the beautifully stern Allegro con brio, the elegantly serene Adagio affettuoso ed appassionato, the spirited Scherzo. Allegro molto, and rounds out on the dance floor swirls and twirls of the delightful Allegro; and then we get the four piece String Quartet No. 2 in G major, Op 18 No 2: which opens on the flourishing Allegro, the serene Adagio cantabile, the dignified Scherzo. Allegro, closing on the flirtatiously cultured Allegro molto, quasi presto.

Disc 2:
1. String Quartet No. 3 in D major, Op 18 No 3 I. Allegro
2. String Quartet No. 3 in D major, Op 18 No 3 II. Andante con moto
3. String Quartet No. 3 in D major, Op 18 No 3 III. Allegro
4. String Quartet No. 3 in D major, Op 18 No 3 IV. Presto
5. String Quartet No. 4 in C major, Op 18 No 4 I. Allegro, ma non tanto
6. String Quartet No. 4 in C major, Op 18 No 4 II. Andante scherzoso quasi Allegretto
7. String Quartet No. 4 in C major, Op 18 No 4 III. Menuetto. Allegro
8. String Quartet No. 4 in C major, Op 18 No 4 IV. Allegretto. Prestissimo

The second disc opens on the four piece String Quartet No. 3 in D major, Op 18 No 3: the stirring Allegro, the swirling Andante con moto, the sumptuous Allegro, culminating on the emphatic Presto; and then we get the four piece String Quartet No. 4 in C major, Op 18 No 4: the opulently sculpted Allegro, ma non tanto, the quietly polished Andante scherzoso quasi Allegretto, the effectively majestic Menuetto. Allegro, the set closing on the recherché Allegretto. Prestissimo.

Disc 3:
1. String Quartet No. 5 in A major, Op 18 No 5 I. Allegro
2. String Quartet No. 5 in A major, Op 18 No 5 II. Minuet
3. String Quartet No. 5 in A major, Op 18 No 5 III. Andante cantabile
4. String Quartet No. 5 in A major, Op 18 No 5 IV. Allegro
5. String Quartet No. 6 in B flat major, Op 18 No 6 I. Allegro con brio
6. String Quartet No. 6 in B flat major, Op 18 No 6 II. Adagio, ma non troppo
7. String Quartet No. 6 in B flat major, Op 18 No 6 III. Scherzo Allegro
8. String Quartet No. 6 in B flat major, Op 18 No 6 IV. La Malinconia Adagio. Questo pezzo si deve trattare ...

The third, and final disc, opens on the four piece String Quartet No. 5 in A major, Op 18 No 5: which begins with the stylized Allegro, the ornamented Minuet, the classically dutiful Andante cantabile, rounding out on the tastefully delicate Allegro; and the collection comes to an end on the four piece String Quartet No. 6 in B flat major, Op 18 No 6: and the emphatically-charged Allegro con brio, the rhythmical Adagio, ma non troppo, the elegant sophistication of Scherzo Allegro, ending with the demurely aristocratic swirls that reside within La Malinconia Adagio. Questo pezzo si deve trattare ...

www.calidorestringquartet.com

www.signumrecords.com

Title - 3Below Live at Mérida
Artist - 3Below

3Below features three extended range instruments played by Michael Manring (Jaco Pastorius alumni, creator of the Hyperbass), Trey Gunn (Warr Guitarist with King Crimson), Alonso Arreola (Mexican bassist, writer and poet).

3Below began in a small but significant way when Arreola and Gunn, along with Gunn’s daughter Harper, traveled across Mali and The Dogon in West Africa in 2012. They took their baritone ukuleles with them hoping to touch base with local musicians.

Mali is known for its deep musical traditions and by the third day they had found their way in: go into each small village and ask for lessons from the local master drummer or ngoni player (African string instrument).

This led to a string of lessons and playing sessions with a variety of musicians from Bamako, Séguo, Mopti, Djenne and throughout the Dogon where they ended up participating in a late night festival and jam session with the king and queen of Begnemato.

These experiences and the musical languages they learned in Mali set the groundwork for 3Below. This exploded further with bringing in bass legend, Michael Manring. Manring is most known for his jaw-dropping solo performances, but he is also a brilliant ensemble player.

Their latest release, Live in Mérida, was recorded on November 5, 2023 at the Palacio del La Música de Mérida in the Yucatan in Mexico. During this performance, they were joined by special guest Emmanuel Pina on the oud.

1. Relamparia [4:37]
2. Mamadou’s Mercedes [5:32]
3. Versos [3:53]
4. Hard Winds [4:26]
5. Forest Floor [1:30]
6. Big Fungus [4:32]
7. Lake of Ice [5:41]
8. Lake of Fire [3:09]
9. The World Is Everything That Is The Case [4:20]
10. Monkey Businessman [7:09]
11. Culpa [4:30]
12. Area [4:22]

This vibrantly impassioned new musical outing opens on the Eastern-imbibed, James Bond-esque Relamparia and the playful Mamadou’s Mercedes and then they bring us the flourishing Versos, the deeply funk-grooved Hard Winds, and both the veritably crystalline Forest Floor and the emboldened freneticism of Big Fungus.

Along next is the stoically-charged, at first, organically-hued latterly Lake of Ice and the seismic Lake of Fire which are in turn followed by an aching yearn that flows through The World Is Everything That Is The Case, the glistening Monkey Businessman, the collection rounding out on more soulful, albeit jagged funk within Culpa, closing on the melodiously Eastern-hued Area.

Special Guests:
Alonso Arreola: Percussive Electroacoustic & Electric Basses
Trey Gunn: Warr Guitar, Baritone Ukulele
Michael Manring: Fretless Basses, Caxixi Shaker
Emmanuel Pina: Oud

3Below first began with live shows in Mexico about one year after their return from Mali. Combining roots from Latin America, Asia, Africa and Europe, the first part of a 3Below live show is acoustic-based with Arreola and Gunn on ukulele and acoustic bass. The second half of the show is full-on electric, with the additional of solo pieces by Gunn and Manring.

Time Out Magazine calls them “Musicians with enormous talent and giant careers.”

www.3belowband.com

Title - Warm In December
Artist - Penni Layne

If you were not aware, Penni Layne belts out R&B/Soul, crosses over into Jazz, takes a dance break into EDM, and floats into singer/songwriter melodies.

Under the helm of Penni Layne (vocalist) and Larry Jackson (bassist), they write, produce, arrange, record and perform music that speaks to the soul.

“I wanted to record and produce, along with my husband / partner / collaborator / fellow musician, Larry Jackson, an album that stays true to lyrical intention and evoke the listener to holidays past with our new album, “Warm In December”. We also aimed to showcase a sound of minimalism and timelessness, which is why we thought the medium of a jazz quintet was the perfect canvas.”

“I am immediately transported to my childhood as soon as the first strains of “The Christmas Song” by Nat King Cole, begins. And certainly, my December playlist has grown over the years. We have chosen to have all important standard classic Christmas songs on this album, but then also added a few “not as known” gems, as well as our original song, “At the First Snowfall”.”

“So now, since playful melodies like “I Love the Winter Weather”, or touching lyrics from a “Christmas Love Song” have become an embedded part of our holiday traditions we felt they needed to be part of this project.”

1. Winter Wonderland
2. Warm In December
3. The Christmas Song
4. Let It Snow
5. At The First Snowfall
6. I’ll Be Home For Christmas
7. I Love The Winter Weather
8. A Christmas Love Song
9. Have Yourself A Merry Little Christmas
10. Sleigh Ride

This vibrantly impassioned new Holiday recording opens on a delicately hued Winter Wonderland and the joyful Warm In December and then they bring us the beautifully ornate The Christmas Song, a playful Let It Snow, and then we get the luxuriant At The First Snowfall brought forth.

Along next is the gently flourishing I’ll Be Home For Christmas and the flirtatious finger-snapper I Love The Winter Weather which are in turn followed by the elegant gossamer of A Christmas Love Song, the collection rounding out on the gentle dancefloor swirl of Have Yourself A Merry Little Christmas, closing on the infectious two-step of Sleigh Ride.

“For Warm In December, I first heard this song in a recording by Julie London,” explains Layne. “I am always on the lookout for new holiday material that speaks to me and maybe a little off the beaten path, as I love “all things Christmas” at this special time of year. I love her soul, her musical interpretation and simplicity, her sex appeal, her. She’s a goddess in my book. And this song just eggs that on. That “if you get with me, I’ll keep you warm.”

The Players:
Penni Layne - Vocals
Michael Kanan - Piano
Neal Miner - Bass
Greg Ruggiero - Guitar
Keith Balla - Drums

www.pennilayne.com

Title - Crossing Paths
Artist - Renee Rosnes

If you were not aware, some paths meet at a single crossroads then move on along their predetermined journeys. Others crisscross again and again, each juncture altering their directions and destinations until the two become indelibly intertwined.

The latter has been the case for the renowned pianist and composer Renee Rosnes and her lifelong love of Brazilian music. The two converge with stunning results on CROSSING PATHS, Rosnes’ new release, instantly marking a highlight of her already remarkable career.

It finds Rosnes leading a stellar band exploring masterpieces from the songbooks of Brazil’s most revered composers, entrancingly melding the beguiling rhythms of bossa nova, frevo, samba, afoxé, and other styles with Rosnes’ visionary approach to modern jazz.

The pianist is joined by a phenomenal band mixing American jazz masters (saxophonist Chris Potter, trombonist Steve Davis, bassist John Patitucci and drummer Adam Cruz) with contemporary Brazilian voices (guitarist Chico Pinheiro, percussionist Rogério Boccato and vocalist Maucha Adnet) and the classical flutist Shelley Brown, who is a longtime member of the Canadian Opera Company Orchestra and the National Ballet of Canada Orchestra.

Thrillingly, the album is graced by special guest appearances from legendary artists and composers Edu Lobo and Joyce Moreno, who perform their own classic songs. Both provide a direct link from Rosnes’ contemporary interpretations to “the second generation” post-Bossa Nova era, granting this gorgeous new album the imprimatur of some of the music’s pioneering artists.

1. Frevo
2. Pra Dizer Adeus (featuring Edu Lobo)
3. Trilhos Urbanos
4. Canta, Canta Mais (featuring Maucha Adnet)
5. Casa Forte (featuring Edu Lobo)
6. Essa Mulher (featuring Joyce Moreno)
7. Amor Até O Fim
8. Estórias da Floresta
9. Caminhos Cruzados (featuring Maucha Adnet)

On an album that artfully reimagines quintessential Brazilian songs, making them dutifully impassioned, this new recording opens on the free flowing, playfully perky Frevo and the melodious balladry of Pra Dizer Adeus (featuring Brazilian singer, guitarist, and composer Edu Lobo) and then they bring us the gently spirited Trilhos Urbanos and the emotive Canta, Canta Mais (featuring Brazilian contralto singer Maucha Adnet).

Along next is the swirling Casa Forte (again featuring Lobo) which is in turn followed by the hauntingly ethereal ballad Essa Mulher (featuring Brazilian singer-songwriter and guitarist Joyce Moreno), the collection rounding out on the swinging summer breeze that drives Amor Até O Fim, the delicate, at first, latterly expressively bountiful Estórias da Floresta, closing on the all-embracing hipsway of Caminhos Cruzados (again featuring Adnet).

While CROSSING PATHS could be seen as a departure for Rosnes, it arrives as the culmination of a long-held dream, realized brilliantly. “This project was sparked in my mind about three decades ago,” she says. “I’ve always been passionate about the music of Brazil, and finally, the time felt right to embark on it. With this band, I knew I was with players who hold great respect and love for this music, and that together we could make these songs come alive in the way I had imagined.”

MYTHOLOGIES II ~ MEDUSA & PERSEUS [Official Lyric Video]

www.reneerosnes.com

Title - Eugenie
Artist - Eugenie Jones

If you were not aware, through inspiration and an inexhaustible work ethic Eugenie Jones has transformed herself into a jazz vocalist of impeccable quality, with a respect for the jazz tradition and the courage to try something she had never imagined - a singing career.

Eugenie Jones was not supposed to be a jazz singer. She graduated with an MBA in marketing, and her post-graduate career took her deep within the nonprofit sector as a marketing communications executive. Her mother, a soprano gospel singer, was the singer of the family, and when cancer claimed her life, Jones managed her grief by setting out to see if she could carry forward that part of her Mom’s life.

And now the acclaimed jazz vocalist and songwriter with a heartwarming backstory brings us her brand new 13 track album, the elegant Eugenie, released on her own music label, Open Mic Records, January 20th, 2025.

1. Why I Sing
2. Starlight Starbright
3. It Don’t Mean A Thing
4. Hold Back The Night
5. Sinnerman
6. It’s Okay
7. I Love Being Here with You
8. Natural Woman
9. Work Song
10. Nothing Better
11. Say What You Will
12. Trouble Man
13. Harlem Nocturne

Born and raised in Fairmont, West Virginia, Eugenie opens here new recording on the dutiful swing that drives Why I Sing (arguably her most autobiographical song) and the elegance of Starlight Starbright, and they are backed by the flavorful It Don’t Mean A Thing, a rather delightful Hold Back The Night (an original based on Philippians 4:8), the low slung finger-snapping Nina Simone track Sinnerman, and then we get another original, flirtatious Latin tune It’s Okay brought forth.

Along next on her singer, songwriter’s sixth release, is the luxuriant Peggy Lee staple I Love Being Here with You and an absolutely knockout version of Aretha Franklin’s Natural Woman, and they are seamlessly followed by the robust Nat Adderley/Oscar Brown classic Work Song, the pure gossamer of Nothing Better, another original in the form of the bluesy swagger that drives Say What You Will, the album rounding out on an all-embracing, soulful rendition of Marvin Gaye’s hit Trouble Man, closing on the smokey jazz club appeal of Earle Hagen’s Harlem Nocturne.

With this and her previous releases, she has consistently showcased her unique blend of original vocal jazz and creative interpretations of beloved standards and jazzed-soul classics. Her music has the power to move the soul, entertain, and attract new audiences, all while staying true to the genre.

Listeners are in for a truly unforgettable jazz experience as Jones invites them into her Eugenie-ized world of music with her standing mantra— “Welcome to jazz, you can feel.”

Reflecting on her career, Jones shared, “Pursuing a music career is a Sisyphean act unlike any other I’ve taken on, but it brings an unmatched joy and purpose to my life, so with this release here I stand rolling that boulder up the hill again.”

www.eugeniejones.com

Title - Mythologies II
Artist - Danaë Xanthe Vlasse

If you were not aware, composer Danaë Xanthe Vlasse has now followed the GRAMMY®-winning chamber album MYTHOLOGIES (2021) with a sequel of epic proportions.

Featuring the Royal Philharmonic Orchestra, MYTHOLOGIES II offers orchestral tone poems highlighting sopranos Sangeeta Kaur and Hila Plitmann, tenor Omar Najmi, and pianist Robert Thies, as they embody iconic figures from Greek mythology.

The musical exploration of these myths demonstrates a nuanced perspective on the protagonists of ancient stories, which speak fundamental truths about the human condition and societal values. There is duality and complexity in each character, asking audiences to ponder how timeless archetypes fit into the modern world.

1) MEDUSA & PERSEUS
2) ANDROMEDA, I. “Ocean Overture”
3) ANDROMEDA, II. “Cassiopeia’s Lament”
4) ANDROMEDA, III. “Andromeda’s Farewell”
5) ANDROMEDA, IV. “Cetus”
6) ANDROMEDA, V. “Perseus’ Proposal”
7) ANDROMEDA, VI. “Andromeda’s Vow & Lover’s Duet”
8) DREAMS OF ITHACA

This incredible, simply breathtaking new recording opens on the 12 minute, six chaptered MEDUSA & PERSEUS - the hauntingly etheral Medusa’s Memories as a Priestess, the emboldened Perseus, the aching yearn of Medusa’s Cave, the spirited The Hunt, the all-embracing Perseus’ Compassion, and the veritably sweeping, grandiose Birth of Pegasus & Medusa’s Ascension - and which is, in and unto itself, a most magically woven blend of musical artwork quite like anything you have heard in many a year, and that is backed by a six-part ANDROMEDA: which begins with the dynamic growth felt within “Ocean Overture,” then we get the sheer elegance of “Cassiopeia’s Lament,” the emotive “Andromeda’s Farewell,” the flourishing “Cetus,” then comes the delicately hued duet “Perseus’ Proposal, and the free flowing majesties that unfurl within “Andromeda’s Vow & Lover’s Duet,” the set culminating on the expansive DREAMS OF ITHACA.

Royal Philharmonic Orchestra:
Sangeeta Kaur, Soprano (1, 3-8)
Hilá Plitmann, Soprano (1, 3, 4, 8)
Omar Najmi, Tenor (1, 5-8)
Robert Thies, Pianist
Danaë Xanthe Vlasse: Singing Bowl, Rattle, Thunder Drum, Orchestral Chimes (1), Ocean Drum (2,5), Piano String Effects (2,4,5), and Lyra (8)
Emilio D. Miler, Concert Toms (1)

www.danaevlasse.com

Title - Mirrors
Artist - Paul Huang / Helen Huang

If you were not aware, Paul Huang and Helen Huang have been exploring the repertoire for violin and piano for now a decade. As a way of celebrating their fruitful and enriching collaboration, they have devised this album as an ingenious game of mirroring.

The title of this second album, Mirrors, for naïve is not accidental, as the two musicians offer highly diverse perspectives. This new recording focuses first on two sonatas composed by Francis Poulenc (1942-1943) and Sergei Prokofiev (1938-1946) during the second world war of the 20th century, respectively at the opening and closing of this album.

Between these two pieces, Spiegel im Spiegel by Arvo Pärt (1978), a page with ethereal lines, a moment of introspection and calm that becomes a space for contemplation and reflection necessary in this otherwise dense and angular programme.

Poulenc composed his Sonata as a response to fascism and dedicated it to the memory of the Spanish poet Federico García Lorca, shot in 1936 during the Spanish Civil War. The composer imagines fleeting melodies, punctuated by bold contrasts.

The irregularity of the phrases, the sudden pauses, the mischievous fantasy intertwined with moments of discord, seek to transcribe the emotional and societal whirlwind that was the War, right down to these violin pizzicatos at the end of the movement evoking both the bullets of a rifle and the guitar, this iconic instrument of Lorca’s country.

War also feeds Prokofiev’s inspiration, in the abrasive and anguished din of the battle that the second movement imitated, in the lullaby of the third movement that dreams of a better future, as in the folk dance, lively, joyful, in reality so dramatic that its climax is a metaphor for chaos.

This album encapsulates music’s profound ability to offer a poignant reflection on the past while resonating deeply with our present. In a world that often feels as tumultuous as the one that birthed these works, music offers a space for contemplation and connection.

In this maelstrom of emotions, Paul Huang and Helen Huang have grown as musicians. This new stage in their musical journey has required them to refine their sense of contrasts to connect with the rawest of human emotions.

The two musicians have reinvented their duo, they have now reached a crucial moment where modesty turns into delicacy, fierceness into ferocity, tact into grace. A reflection of an ongoing journey, Mirrors is above all a mirror of their absolute mutual understanding.

Francis Poulenc (1899-1963)
Violin Sonata, FP 119
I. Allegro con fuoco [6:20]
II. Intermezzo [6:23]
III. Presto tragico [5:31]

Arvo Pärt (born 1935)
Spiegel im Spiegel [10:08]

Sergei Prokofiev (1891-1953)
Violin Sonata No. 1 in F minor, Op. 80
I. Andante assai [7:00]
II. Allegro brusco [6:43]
III. Andante [6:51]
IV. Allegrissimo - Andante assai [7:17]

This incredible, simply breathtaking new recording opens on the elegance of Poulenc’s Violin Sonata, FP 119, and the flourishing Allegro con fuoco, the delicate Intermezzo and rounds out on the spirited Presto tragico; and then we get the ornately sculpted Pärt ten minute Spiegel im Spiegel, the collection closing on the all-encompassing Prokofiev’s Violin Sonata No. 1 in F minor, Op. 80; which opens on the stoically-charged Andante assai, the emboldened Allegro brusco, then brings us the veritably skittish Andante, ending with the flirtatiously ornate Allegrissimo - Andante assai.

www.paulhuangviolin.com

Title - Alone Together
Artist - Cantus

For those unaware, Cantus first conceived of this conceptual concert in 2016, intending to reflect the tension in our modern society between technological connectedness and human longing for genuine in-person interaction.

As one of the nation’s few full-time vocal ensembles, Cantus has come to prominence with its distinctive approach to creating music. Working without a conductor, the members of Cantus rehearse and perform as chamber musicians, each contributing to the entirety of the artistic process, creating programs that give voice to shared human experiences.

As the Star Tribune has written, “The main hallmark of the Cantus sound has always been sheer quality and an unbroken belief in the special way that vocal music has of warming and invigorating the human spirit.”

We’ve never been able to communicate as quickly or efficiently across distance through the internet and social media. We’ve seen new art forms take shape, new types of communities form, and new ways of living that were inconceivable even 50 years ago.

Alone Together has taken on a whole new context and meaning since March 2020. Although the original themes remain, the pandemic has – in some ways – turned the concept on its head. Instead of a deterrent to connectedness, technology has sometimes been the only tool to help us maintain community and relationships.

This album is a journey that reflects upon isolation and connectedness in our world. We hope that you find moments for beauty and introspection, both familiar and new.

1. When the Earth Stands Still – Don Macdonald
2. You: I. You, here ... now ...) - Libby Larsen
3. Deep Blue – Arcade Fire
4. You: II. You, now ... know) - Libby Larsen
5. Gersang der Mönche, - Beethoven
6. A Most Peculiar Man – Paul Simon and Art Garfunkel
7. You: III. You, know ... who, are) - Libby Larsen
8. You Will Be Found - Benj Pasek / Justin Paul
9. Camina Siempre Adelante – Alberto Cortez
10. She’s Leaving Home – John Lennon and Paul McCartney
11. You: IV. You, here ... need) - Libby Larsen
12. She - Laura Mvula
13. Coffee with Borges - Gabriel Kahane
14. Calme Des Nuits (Stillness of the Night) – Camille Saint-Saëns
15. Beneath Thin Blanket - Jeff Beal
16. You: V. You, here ... are know ... love) - Libby Larsen
17. The Green And Salty Days - Kathleen Allan
18. Chinese Proverb - Sharon Durant
19. When We Sing - Rosephanye Powell

The all-male ensemble’s brand new recording opens on the gently harmonious When the Earth Stands Still, the emboldened of the first of five parts You: I. You, here ... now ...) by Libby Larsen, and then we get the evolving nature within Deep Blue, the enchanting second You: II. You, now ... know), a rhythmically emerging rendition of Beethoven’s Gersang der Mönche, the quietly motive A Most Peculiar Man, a beautiful harmony shown within the third You: III. You, know ... who, are), before we are brought forth the alluring You Will Be Found (from Dear Evan Hansen) and the impassioned Camina Siempre Adelante.

Along next is a rather inventive rendition of the Beatles’ She’s Leaving Home and the pleasantly melodic fourth You: IV. You, here ... need), before we next get a veritably glistening She, the empowered Coffee with Borges, a serenic Calme Des Nuits (Stillness of the Night), the calming Beneath Thin Blanket, and they are in turn followed by the captivating fifth, and final You: V. You, here ... are know ... love), the seductive The Green And Salty Days - Kathleen Allan, coming to a close on the emotional Chinese Proverb and the joyfully-imbibed When We Sing.

The term Alone Together has taken on new meaning in this age of COVID-19 and social distancing. What does it mean to be Alone Together, and how do we find that connection? Music helps address those questions in this beautifully crafted program filled with popular music and classical pieces.

www.cantussings.org

www.signumrecords.com

Title - The Good Man
Artist - Alex Caprani

For those unaware, Alex Carpani is an Italian-French composer, keyboardist, singer, producer, musicologist and artistic director. He graduated in DAMS (musicology) at the University of Bologna with a thesis on the music of Nino Rota in Fellini’s films that won the 1st prize of the Fellini Foundation.

He graduated at CET (a famous Italian music school) in composition and arrangement of music for films with Stelvio Cipriani, after having won a European Union scholarship that allowed him to attend the school. He has written and self-produced a great amount of instrumental music for more than 15 years: new age, electronic music, symphonic music, music mixed with poetry, drum’n’bass, electro-jazz, music for theatre shows and documentaries.

Since 2007 he has dedicated himself to rock, releasing 8 rock albums with Italian and foreign labels which had positive feedback with both audience and critics, allowing him to collaborate, in studio and live, with some well known musicians of the national and international scene, such as David Jackson of Van der Graaf Generator, David Cross of King Crimson, Theo Travis of Soft Machine, Jon Davison of Yes, Paul Whitehead, graphic designer of early Genesis, Aldo Tagliapietra of Le Orme, Bernardo Lanzetti of Acqua Fragile and PFM.

He has performed more than 140 concerts in 21 countries of 3 continents with his band, appearing in the most important live clubs and festivals of the international progressive rock field. He has founded the band Aerostation with Gigi Cavalli Cocchi (former drummer of Ligabue, Clan Destino, C.S.I.) releasing in 2018 the homonym debut album with Aerostella/Immaginifica label, performing concerts in Italy and abroad and opening for PFM at major events as well. Aerostation’s new album Rethink will be released in 2025.

His brand new solo album is entitled The Good Man and was released this past December 6th, 2024, via his own label Independent Artist Records, and I will allow Alex himself to explain what it is all about: “Musically, TGM is, perhaps, the album of my discography that most of all summarizes and represents my style and the genres in which I have expressed myself over the years: rock, prog, prog-metal, symphonic rock, symphonic music, electronic, ambient. The line-up also includes a mezzo-soprano singer, because the music has at times lyrical, almost cinematic characters.”

“The album consists of 2 suites of about 28 minutes each, each divided into 9 parts, so there are 18 tracks in all. The good man is a bit like a tiny paper boat floating, trying not to sink, in the ocean of life, between storms and gigantic waves, without ever knowing its final destination.”

1. Amnesiac (full version) [28:42]
2. Good And Evil (full version) [28:24]
3. Amnesiac part 1 On A Train [2:09]
4. Amnesiac part 2 Perfect Chaos [4:41]
5. Amnesiac part 3 Flashbacks [1:30]
6. Amnesiac part 4 The Edge Of My Mind [3:56]
7. Amnesiac part 5 Diamond In The Rough [1:55]
8. Amnesiac part 6 Past Life [3:12]
9. Amnesiac part 7 Heart Calling [2:51]
10. Amnesiac part 8 As Light Returns [4:02]
11. Amnesiac part 9 End Of The Day [4:20]
12. Good And Evil part 1 Lost Frequencies [1:07]
13. Good And Evil part 2 The Flow [3:53]
14. Good And Evil part 3 P.T.S.D. [3:32]
15. Good And Evil part 4 Stillness And Ecstasy [2:33]
16. Good And Evil part 5 Flirting With Darkness [3:39]
17. Good And Evil part 6 Mystical [5:51]
18. Good And Evil part 7 Leaving The Path [1:52]
19. Good And Evil part 8 Masquerade [2:42]
20. Good And Evil part 9 Everything Falls Into Place [3:09]

The album opens on the two full-length tracks at nearly half an hour each, the esoterically-sculpted Amnesiac (full version) and the jagged, static-charged, at first, latterly sweeping and prog-tastic Good And Evil, but then brings us their internal breakdowns: these open on the Eastern-imbibed, fuzzy ambiance of Amnesiac part 1 On A Train, the fervently driven part 2 Perfect Chaos, the atmospheric part 3, the all-embracing musical magnitude of part 4 The Edge Of My Mind, and then we get the veritably translucent part 5 Diamond In The Rough, the sweepingly orchestral prog of part 6 Past Life, the work rounding out on the ethereal part 7 Heart Calling, the prog-Celt vibed part 8 As Light Returns, closing on the AOR of part 9 End Of The Day.

The second work opens on the musical static nuances of Good And Evil part 1 Lost Frequencies and the free flowing melodies that drives part 2 The Flow, and they are in turn backed seamlessly by the hauntingly effervescent part 3 P.T.S.D., the impassioned sternness, initially, completely transcendent the next of part 4 Stillness And Ecstasy, the propellent rocker part 5 Flirting With Darkness, the work rounding out on the papal chanting, accompanied dutiful by the organ of part 6 Mystical, the powerful part 7 Leaving The Path, coming to a close on the mid-tempo, smoothly cultured jazz-prog of part 8 Masquerade and the drum led rock of part 9 Everything Falls Into Place.

The brand new album will be distributed for physical copies (digipak CD with 20-page booklet) by Pick-Up Records and on major digital platforms through Distrokid.

Alex Carpani - The Good Man (Album Teaser)

Alex Carpani - Amnesiac part 2 Perfect Chaos [Official Listening Link]

Alex Carpani - Good And Evil part 5 Flirting With Darkness [Official Listening Link]

www.AlexCarpani.com

Nightmare - Waiting For The Power 3CD [Trailer]

Official Instagram Page

Official Youtube Page

Title - Waiting For The Power: The Early Years [3CD]
Artist - Nightmare

Nightmare formed in 1979 in Grenoble, France, influenced by the burgeoning NWOBHM scene exploding across the Channel in England, and even supported Def Leppard at a huge show in Grenoble in 1983. The band have continued to release music and tour over the years, and in June 2024 issued a brand-new studio album, their 12th, via AFM Records. 2024 also sees the 40th anniversary of ‘Waiting For The Twilight’ – the band will celebrate this milestone with a live show in Grenoble on October 18th, which will feature two sets, one from the current line up, and one featuring former members of the band to bring the history of this enduring metal institution full circle.

Waiting For The Power: The Early Years is a magnificent 23 track, three disc set from cult French metal act Nightmare featuring their first two full length studio albums, originally released on Ebony Records, and a bonus disc of rare and unreleased material.

Disc One: Waiting For The Twilight (1984)
1. Trust A Crowd
2. Waiting For The Twilight
3. Too Late
4. Royal Death
5. Drive Down To Hell
6. Lord Of The Sky
7. The Legend
8. Fool On The Scene
9. Le Jour Du Châtiment (Waiting For The Twilight) [Bonus Track]
10. Victime De L’exil (Too Late) [Bonus Track]
11. Esprits, Sortilèges (Royal Death) [Bonus Track]
12. Les Forces Du Mal (Lord Of The Sky) [Bonus Track]

CD 1 features their debut full length recording, ‘Waiting For The Twilight’, originally released in 1984, with four French language bonus tracks.

Oh-so clearly influenced by NWOBHM (the new wave of British heavy metal), and yet never truly mimicking the era, in case they were labelled as merely copycats, the band still very much managed to showcase a distinct musical character.

For me, Waiting For The Twilight (CD1/1984) was an album of exciting metal akin to, shall we say, Iron Maiden and such, and even back then hinted at a relative sophistication that was already in development.

Stand out tracks include both Trust A Crowd and the soaring Lord Of The Sky, lest we forget the propulsive title track, and the four French language bonus tracks are brilliant to hear now too.

Disc Two: Power Of The Universe (1985)
1. Running For The Deal
2. Diamond Crown
3. Prowler In The Night
4. Power Of The Universe
5. Let’s Go
6. Judgment Day
7. Princess Of The Rising Sun
8. Invisible World
Live in Grenoble, 22nd February 1985
9. Princess Of The Rising Sun [Bonus Track]
10. Diamond Crown [Bonus Track]
11. Waiting For The Twilight [Bonus Track]
12. Power Of The Universe [Bonus Track]
13. Let’s Go [Bonus Track]
14. Invisible World [Bonus Track]

CD 2 features the follow up ‘Power Of The Universe’, originally released in 1985, with six bonus live tracks. Both albums were originally released via cult NWOBHM label Ebony Records.

As we fans all know by now, for their next album The Power Of The Universe, the band brought in a brand new vocalist, Jean Marie Boix. A man with the most grittiest of vocals, where at times he actually sounded like his vocal train had left the rails, he was most definitely a different kettle of fish to that of his predecessor, Christophe Houpert.

As for the songwriting, overall it is noticeably stronger for this follow up, but that fits the voice of Boix, of course. There’s also a sense that the band, already under leader Yves Campion’s tutelage, were unsure of their musical direction at times, for as much as the album totally rocks, it is also somewhat musically uneven at times.

Stand out tracks include the trio of Running For The Deal, Diamond Crown and the titular Power Of The Universe, with others making the cut such as both Judgment Day and Princess Of The Rising Sun, but it is the set of live tracks (bonus cuts) that make this disc the Crème de la crème, my friends.

Disc Three: Rare & Unreleased*
1. Hallucinations Directes (Demo 1981)
2. Vengeance (Demo 1982)
3. Maudis Ton Destin (Demo 1982)
4. Tu Es Damné (Garage Tapes: Rehearsal 1982)
5. Le Dilemme (Garage Tapes: Rehearsal 1982)
6. The Hunter (Ebony Records Demo 1983)
7. Ballad Test (Rehearsal 1984)
*All tracks previously unreleased

CD 3 comprises of very early material specially curated by the band from their own archives, including completely unreleased tracks.

This release is complimented with the addition of liner notes featuring exclusive new interviews with the band, and includes rare photos from the band’s own archive.

Title - The Reunion Years 1990-2015 [4CD]
Artist - Stackridge

Formed in Bristol in 1969, STACKRIDGE were one of the most unique British bands of the era. Possessing a gift for melody, musicianship and a fine sense of humour, their concerts were legendary. The band appeared at the very first Glastonbury festival and soon after signed to MCA Records. A succession of wonderful albums in the 1970s earned the band a loyal following but following line-up changes and the release of the album ‘Mr. Mick’ they disbanded.

It was therefore a pleasant surprise when in 1999 the album ‘Something for the Weekend’ was released. Sporadic reunions followed and a mini-album release via the Stackridge website, ‘Lemon’, also appeared, but in 2008 Stackridge returned with a masterpiece, the excellent album ‘A Victory for Common Sense’ (which featured original members James Warren, Andy Davis, Mutter Slater and Jim “Crun” Walter). Produced by Chris Hughes, the album received excellent critical reviews.

Stackridge continued to tour, but by 2015 both Mutter Slater and Crun Walter had departed. On 19th December 2015 Stackridge made their farewell performance at a concert in Bristol (for which they were joined by guest Mutter Slater), which was recorded and later released as the double album ‘The Final Bow’.

This collection gathers together the albums ‘Something for the Weekend’, the ‘Lemon’ mini- album, ‘A Victory for Common Sense’ and ‘The Final Bow: Bristol 2015’. It also features additional bonus tracks such as the 2006 re-recording of ‘Purple Spaceships Over Yatton’, ‘Seek and You Will Find’ and both songs from the rare ‘Dummies’ CD single.

And it also includes an illustrated color booklet with a brand new essay inside.

Disc One: Something for the Weekend (1999)
1. It’s a Fascinating World
2. Ruth, Did You Read My Mind
3. Something About the Beatles
4. Help Under Doors
5. The Vegan’s Hatred of Fish
6. Sliding Down the Razorblade of Love
7. The Youth of Today
8. Have Faith in Love
9. Five-Poster Bedlam
10. Wildebeeste
11. Grooving Along on the Highway on a Monday Morning Once
12. Someday They’ll Find Out
13. Drinking & Driving
14. It Must Be Time for Bed
15. The Final Bow [Bonus Track]
16. Big Baby [Bonus Track]
17. Charles Louis Dance [Bonus Track]
18. Wonderful Day [Bonus Track]
19. Bread & Water [Bonus Track]
20. Dirty Little Nightingale [Bonus Track]
21. First Name of Love [Bonus Track]
22. Beating a Path [Bonus Track]

Most fans of music throughout the years have sat through middle-aged reunion albums with their spirits steadily sinking, as turgid laments for the environment give way to bitter attacks on faithless ex-wives and ex-bandmembers, and current bandmembers relentlessly demonstrate their familiarity with the very latest synthesizers.

But 21 years after what everyone assumed to be their final album, Mr. Mick, Stackridge reconvened (albeit missing several key members, as usual) and delivered one of their finest albums, in my humble opinion. This time the band was under the direction of James Warren, who left in 1973 after The Man in the Bowler Hat to subsequently enjoy considerably greater commercial success as a member of the Korgis (briefly alongside his old Stackridge oppo Andy Davis).

And certainly there’s a degree of Korgis-style polish about many of the songs included here, while another key influence is openly acknowledged in the anthemic Something About the Beatles. Warren was always the band’s premier melodist, however, and though Something for the Weekend would have certainly benefited from the presence of key members Davis and Mutter Slater, it boasts a consistency that was all too lacking in the band’s last two (Warren-free) albums.

Disc Two: A Victory for Common Sense (1990)
1. Boots and Shoes
2. The Old Country
3. (Waiting for You and) England to Return
4. Red Squirrel
5. North St. Grande
6. Long Dark River
7. Lost and Found
8. Cheese and Ham
9. The Day the World Stopped Turning
10. Seek and You Will Find [Bonus Track]
11. Beside the Sea [Bonus Track]
12. Dummies [Bonus Track]
13. Purple Spaceships Over Yatton (2006 version) [Bonus Track]

On this album, well, simply put, this is where real English rock music resides. Stackridge may have begun with that late 60’s sensibility - the brilliant tatters of psychedelia and our native whimsicality fused with classical references á la Procol Harum and a healthy pinch of those Beatle lads - but they definitely carved out their own unusual space as they went.

Stackridge were well-known for their diversity of styles, sure, but here they can also be both delicate and they can be heavy - often in the same song - but what distinguishes them is a subtlety, a lightness of touch as well as those well-crafted lyrics that have a poetic quality and superb use of allusion.

Indeed, some of the most beautiful songs conceal a deeper, starker message, such as the brilliant Long Dark River and, in general, all their melodies hook the listener effortlessly here.

The third and fourth discs are their Final Bow in Bristol in 2015 and showcase and incredible band live, doing what they do best, and as loud and as proudly as possible.

To my mind, Stackridge were the curators of this strand of true English music and should be revered for their consistency and vision. A Victory for Common Sense is faithful to that diversity and eccentricity coupled with rock grooves and string arrangements that made this band unique in their earlier work, such as Lummy Days, The Road To Venezuela, Dora the Female Explorer, The Last Plimsoll and Fish In A Glass.

Disc Three: The Final Bow, Bristol 2015
1. Over the Horizon 2. The Road to Venezuela 3. The Last Plimsoll 4. Red Squirrel 5. Syracuse the Elephant 6. Fundamentally Yours 7. Highbury Incident 8. Teatime 9. God Speed the Plough 10. Long Dark River 11. Purple Spaceships Over Yatton

Disc Four: The Final Bow, Bristol 2015
1. All I Do is Dream of You 2. Fish in a Glass 3. Something About the Beatles 4. No Ones More Important Than the Earthworm 5. Lost and Found 6. Boots and Shoes 7. The Final Bow 8. Lummy Days 9. Slark 10. Dora the Female Explorer 11. Do the Stanley Aviator Brass

Title - Living Standards II
Artist - Karl Latham

If you were not aware, Living Standards II is protean drummer Karl Latham’s second adventurous jazz/jam journey exploring smash pop and rock hits that have become modern standards, following the well-received “Living Standards” (2016) featuring Mark Egan and Vic Juris.

“Living Standards II” once again, pairs Latham with good friend and iconic bassist Mark Egan and renowned guitarist Mitch Stein (Brecker Brothers, David Sanborn, Steve Kimmock). Top tier musicians, keyboardist Henry Hey (David Bowie, Bill Evans, Tedeschi/Trucks), renowned percussionist Roger Squitero and special guest vibraphonist Wolfgang Lackerschmid join Latham in stirring the creative pot on several of the selections.

“Living Standards II” draws influences from Miles Davis’ electric groups and jazz fusion groups of the 1970’s inventively paired with iconic class rock hits including Crosby, Still, Nash and Young “Carry On”, Buffalo Springfield’s “Rock and Roll Woman” and Steppenwolf’s “Magic Carpet Ride”.

1. Break on Through (To the Other Side) (9:20)
2. Rock and Roll Woman (4:31)
3. What Is and What Should Never Be (7:58)
4. Layla (8:56)
5. Matte Kudasai (7:53)
6. Magic Carpet Ride (6:21)
7. Carry On Part I (6:47)
8. Carry On Part II (4:59)

This brilliantly authentic and wholly absorbent new recording opens on the charged, near ten minute thrilling rendition of The Doors’ Break on Through (To the Other Side), a simply mesmerizing take on Buffalo Springfield’s Rock and Roll Woman, his all-embracing What Is and What Should Never Be (Led Zeppelin), and then comes a pulsating Layla (Derek and the Dominoes).

Along next is the veritably shimmering King Crimson ballad Matte Kudasai which is itself backed seamlessly by the funk-grooved Steppenwolf cut Magic Carpet Ride, the music coming to a close on the two-parter Carry On; the first Part I being a rhythmical cut here, Part II being a more prog-lithe version (both with a playful nod to Davis’ “Jack Johnson and Live/Evil”).

Musicians:
Karl Latham (Drums)
Mark Egan (Bass)
Mitch Stein (Guitar)
Henry Hey (Keyboards)
Roger Squitero (Percussion)
Wolfgang Lackerschmid (Vibraphone)

www.karllatham.com

Title - Christmas on Mansion Road, Vol. 2 [EP]
Artist - Gamache-Marak-Rondini

Mansion Road Music is a collaborative musical project by Wayne Gamache, Tom Marak, and John Messier.

With a passion for creating music that resonates with audiences on a deep emotional level, the trio’s compositions explore a wide range of genres and themes.

Their latest album, Christmas on Mansion Road, Vol. 2, continues to vibrantly showcase their exceptional songwriting and musical talents around the Holiday season.

1. Santa’s Gone Hi-Tech
2. Everywhere I Look I See Christmas
3. A Christmas Secret
4. I Wanna Work for Santa

This wonderfully authentic new Holiday collection of songs opens on the beautifully rhythmic hipsway of Santa’s Gone Hi-Tech and then they bring us the warm embrace of Everywhere I Look I See Christmas, the second EP rounding out on the all-embracing melodies within A Christmas Secret, coming to a close on the swaying, mid-tempo AOR of I Wanna Work for Santa.

www.mansionroadmusic.com

Title - A Pack of Three [EP]
Artist - Gamache-Marak-Rondini

Mansion Road Music is a collaborative musical project by Wayne Gamache, Tom Marak, and Anthony Rondini.

With a passion for creating music that resonates with audiences on a deep emotional level, the trio’s compositions explore a wide range of genres and themes.

Their latest album, A Pack of Three, continues to vibrantly showcase their exceptional songwriting and musical talents, no matter what season it is.

1. Crazy from the Heat
2. Don’t Think About Me
3. Home

This brilliantly rock-fused new recording opens on the propulsive rocker Crazy from the Heat, then we get the guitar licking Don’t Think About Me, the new EP rounding out on the low slung prog-rock of Home.

The Residents presents BUY OR DIE! Ralph Records [1972-1982] 3CD [Official Trailer]

www.mansionroadmusic.com

Title - The Residents present BUY OR DIE! Ralph Records
Artist - Various

Ahead of the curve as ever, in 1972 The Residents turned their back on the mainstream music industry and established their own Ralph Records imprint, taking control of every aspect of the recording, design and manufacturing process of their records.

Over the next decade, Ralph would release numerous seminal singles and albums by a diverse range of artists from both the US and Europe, capturing the zeitgeist perfectly in the era of punk and new wave, when the DIY aesthetic went overground.

Featuring key singles, vital album tracks and a number of recordings appearing on CD for the first time, as well as previously unheard material from Schwump, Snakefinger, MX-80 Sound and Gary Panter, ‘The Residents present BUY OR DIE! Ralph Records 1972-1982’ is not only an insight into The Residents’ world but also into the workings of their DIY mindset, with most of the tracks here being recorded in the group’s own studio, and released in artwork produced by their own graphics department.

From established names such as Yello and The Residents themselves, to lesser-known gems by Fred Frith, Tuxedomoon et al, this is a distinctive snapshot of that experimental and open-minded time and place, as seen through the lense of one of America’s most adventurous artists.

Complete with a 7,500 word first hand account essay from The Residents’ Mysterious Archivist, plenty of unusual and rare imagery and many tracks sourced directly from the Ralph tape archive, all overseen by The Residents (enabled by RA), ‘Buy Or Die!’ will entertain, enthral and infuriate in equal measure.

Disc One:
1. Ivory And The Brain Eaters - Fire 2. The Residents - Smelly Tongues 3. The Residents - Satisfaction 4. Schwump - Aphids In The Hall 5. Schwump - You’re A Martian / Home 6. Schwump – ‘maginary Dreams (Demo)* 7. The Residents - Beyond The Valley Of A Day In The Life 8. The Residents - Tourniquet Of Roses 9. The Residents - Constantinople 10. Snakefinger - The Spot 11. Snakefinger - Smelly Tongues 12. The Residents - Hello Skinny 13. The Residents - Not Available (A Brief Introduction) 14. The Residents - Santa Dog ’78 15. Art Bears - Rats & Monkeys 16. Art Bears - Collapse 17. Art Bears - The Winter Wheel 18. Snakefinger - What Wilbur? 19. Snakefinger - Kill The Great Raven 20. Chrome - Meet You In The Subway

CD 1 of this very first in-depth retrospective of the seminal label opens on the jaunty storytelling of Ivory And The Brain Eaters’ Fire, two from The Residents: the statically energized Smelly Tongues and a taste of just where the Norwegian Black Metal scene came from, taking musical madness to the extreme with Satisfaction, and they are randomly followed by other stand outs such as the fantastically trippy Schwump’ Aphids In The Hall, the low key, alt-punk-rocker Snakefinger’ The Spot, then the best way to clear a party within minutes would have been to drop the needle on the uber brilliant, high pitched, helium-induced Rats & Monkeys from Art Bears, the thoughtfully trippy hand clapper Snakefinger classic What Wilbur?, the disc rounding out on the atmospherically moody Chrome’ Meet You In The Subway.

Disc Two:
1. Chrome - I Left My Heart In San Francisco 2. MX-80 Sound - I Left My Heart In San Francisco 3. The Residents - I Left My Heart In San Francisco 4. Tuxedomoon - I Left My Heart In San Francisco 5. Snakefinger - Picnic In The Jungle 6. MX-80 Sound - Someday You’ll Be King 7. MX-80 Sound - White Night 8. Tuxedomoon - What Use? 9. Tuxedomoon - 7 Years 10. MX-80 Sound - It’s Not My Fault 11. Snakefinger - The Model 12. The Residents - Diskomo 13. Snakefinger - The Man In The Dark Sedan 14. The Residents - Amber 15. The Residents - Shut Up, Shut Up RDX 16. Gary Panter - Tornader To The Tater 17. Gary Panter - Italian Sunglasses Movie 18. Gary Panter - Rozz Tox* 19. Snakefinger - Golden Goat 20. MX-80 Sound - O Type 21. MX-80 Sound - Old Too Fast*

Featuring classic singles, album cut, rarities and five previously-unreleased tracks, CD 2 opens on five versions of I Left My Heart In San Francisco, the best of the bunch being Chrome’s scratchy instrumental version and Tuxedomoon’s statically vocal spoken word rendition, and other killers cuts that follow are the chrushingly charged MX-80 Sound’s Someday You’ll Be King, Tuxedomoon’s strangely melancholia that pulses through 7 Years, an always melodiously brilliant to hear Shut Up, Shut Up RDX by The Residents, the second disc rounding out on both the low slung, veritably acoustic Gary Panter’s Italian Sunglasses Movie and the alt-punk authenticity of MX-80 Sound’s Old Too Fast.

Disc Three:
1. Fred Frith - Dancing In The Street 2. Fred Frith - What A Dilemma 3. Yello - Bimbo 4. Yello - I.T. Splash 5. Yello - Night Flanger 6. Yello - Bostich 7. Yello - Rock Stop 8. MX-80 Sound - Why Are We Here? 9. Tuxedomoon - Jinx 10. Tuxedomoon - Incubus (Blue Suit) 11. Fred Frith - A Spit In The Ocean 12. Fred Frith - Saving Grace 13. Renaldo And The Loaf - A Medical Man 14. Renaldo And The Loaf - Honest Joe’s Indian Gets The Goat On The Way To The Cowboys’ Conga 15. Renaldo And The Loaf - Ted’s Reverie 16. Renaldo And The Loaf - Melvyn’s Repose 17. Snakefinger - Breakfast In Baltimore (1981 EP Demo)* 18. Snakefinger - Life Isn’t Easy (1981 EP Demo)* 19. Yello - Pinball Cha Cha 20. Yello - Homer Hossa 21. Snakefinger - Eva’s Warning 22. The Residents - Would We Be Alive?

*previously unreleased

Including cuts by The Residents, Yello, Snakefinger, MX-80 Sound, Renaldo and The Loaf, Art Bears and so many more, CD 3 opens on the strangely rhythmic Dancing In The Street by Fred Frith, Yello’s funkily warped Bimbo and their thematic Rock Stop (which itself features one of the greatest guitar solos of all time, IMHO), and moving on through we also get the atmospherically-charged, spatially-aware Renaldo And The Loaf cut Honest Joe’s Indian Gets The Goat On The Way To The Cowboys’ Conga, Yello’s extraordinary Pinball Cha Cha, the disc, and the collection, closing on my favorite track from their 1982 album Intermission: Extraneous Music from the Residents’ Mole Show, the shimmering Would We Be Alive?

Overseen by The Residents, with contributions from the artists themselves, the booklet also includes a 7,500 word essay by The Residents’ mysterious archivist, with artwork by Gary Panter and Porno Grafix.

www.jessicajonesmusic.com

Title - Story of a Traveler
Artist - Tomer Cohen

If you were not aware, renowned guitarist-composer Tomer Cohen, at 27, is set to captivate audiences with his second album, Story of a Traveler (due out via Hypnote Records on February 7th, 2025).

Collaborating with a stellar ensemble featuring Shai Maestro on piano, Cyrille Obermüller on bass, and Gert-Jan Dreessen on drums, Cohen embarks on a musical journey exploring emotions, memories, and cultural influences.

Story of a Traveler promises a rich and varied musical journey. Each composition, from the wistful Moving Pictures to the energetic Falafel and the breathtaking A View, unveils a unique chapter in Cohen’s evolving narrative. Tributes like Orev (Crow) express deep emotions, while the title track Story of a Traveler symbolizes Cohen’s personal and musical journey, using a short melody as a metaphor for constant evolution.

Pastures 2.0 showcases Cohen’s artistic growth by revisiting a composition from his first album, and Bait (Home) explores universal themes of belonging. Each composition in the album promises to be a testament to Cohen’s commitment to crafting innovative and emotionally resonant jazz.

1. Moving Pictures
2. Falafel
3. A View
4. Orev (Crow)
5. Story of a Traveler
6. Pastures 2.0
7. Bait (Home)

With the album’s diverse musical palette further enriched by the contributions of his ensemble, blending Middle Eastern, jazz, folk and rock, Shai Maestro’s virtuosity and expressive playing bring melodic richness and sophistication to the piano parts, it opens on the free flowingly luxuriant feel of Moving Pictures and the more expressively charged Falafel, and they are backed seamlessly by the sweeping A View, the jaunty elegance of Orev (Crow), the veritable gossamer sewn within the magnificent title track Story of a Traveler, the album rounding out on the all-embracing rhythms and melodies of Pastures 2.0, closing on the dulcet, yet incredibly pleasing notes that embody Bait (Home).

www.tomercohenmusic.com

Tomer Cohen @ X

Tomer Cohen @ Instagram

www.hypnoterecords.com

Title - Edible Flowers
Artist - Jessica Jones Quartet

If you were not aware, The Jessica Jones Quartet is an improvising jazz ensemble that performs inventive experimental music derived from the jazz tradition using structured original compositions as a framework for freer improvisation.

By combining the twin tenor saxophones of Jessica and Tony Jones with bass and drums, the group creates an exciting, robust new soundscape.

This dynamic two-tenor quartet now releases its sixth album, Edible Flowers on January 3rd, 2025. The unit, which has existed since the 1980’s, has the complementary tenors of the aforementioned Jessica and Tony Jones teamed with the very active playing of bassist Stomu Takeishi and drummer Deszon Claiborne on four originals and a song apiece by Jackie McLean and Connie Crothers.

1. Manhattan
2. Bird’s Word
3. No Relation/Just Us
4. Little Melonae
5. Higher Than
6. Soft Target

This new collection of exciting, vibrantly colorful new recordings open on the spirited Manhattan and then brings us the more dulcet, yet astutely musical furnishings of Bird’s Word, the whimsically-sculpted No Relation/Just Us, the pensively confident, at first, latterly strident Little Melonae, the collection rounding out on the rhythmically soulful Higher Than, closing on the fervently skittish Soft Target.

Jessica and Tony Jones can always be expected to create inventive, colorful and explorative music, their new musical accomplishment Edible Flowers being a righteous testament to just that fact.

Title - Ho’ihi
Artist - Noel Okimoto

Born and raised in Honolulu, Noel Okimoto has been playing professionally since the age of ten. Noel’s primary instrument is the drum set, but is also an accomplished orchestral percussionist, vibraphonist, composer and clinician.

He received his Bachelor’s Degree in Percussion from the University of Hawaii. Noel has played in Hawaii, the mainland USA, and internationally with Freddie Hubbard, The Woody Herman Orchestra, Stan Getz, Bobby Hutcherson, Richie Cole, Bill Watrous, Ernie Watts, Bud Shank, Barney Kessel, Lew Tabackin, Sadao Watanabe, Wynton Marsalis, Ronnie Cuber, Makoto Ozone, Jeff Richman, Larry Coryell, Nestor Torres, Gene Harris, Take 6, David Benoit, Henry Mancini, Nelson Riddle, Steve Allen, Natalie Cole, Kenny Loggins, Michael McDonald, Bob Hope, Rosemary Clooney, Patti Page, Dionne Warwick, and Jake Shimabukuro, among others.

He was also a member of the Gabe Baltazar Group for five years. He is also the percussion section leader of the historic Royal Hawaiian Band.

His brand new album is entitled Ho’ihi (which means Respect) and is released on January 1st, 2025, and showcases the legendary drummer performing a wide range of modern jazz originals.

Although he is rightly proud of his Hawaiian heritage, Noel performs music on Ho’ihi that owes nothing to the usual stereotype of Hawaiian music. A swinging and versatile drummer, with his top-notch sideman, he introduces a dozen of his originals which explore and invigorate the mainstream of modern jazz.

1. Cachorra
2. Up Syndrome
3. Braying
4. Karing Karing
5. Patina Ballerina
6. Lethologica
7. Longest Day
8. Wayne-ing Day
9. Cachorro
10. Nine and a Half
11. Under The Bottom
12. Opuscule For Rowan

This vibrantly-hued, wholly inspired new recording opens on the sweeping rhythmical interplay within Cachorra and the triumphant Up Syndrome and they are followed by the melodious Braying, the free-flowing beauty of the shimmering Karing Karing, the decadent Patina Ballerina and the low slung Lethologica.

Along next is the playfully perky Longest Day and the ornately fashioned Wayne-ing Day and they are in turn backed seamlessly by the fervently-charged, dancefloor swirls and twirls of Cachorro, the graceful Nine and a Half, the album rounding out on the gently strident ebb and flow of Under The Bottom, closing on the flourishing Opuscule For Rowan.

Ho’ihi is a milestone in Noel Okimoto’s career, an enjoyable listen and an ideal way for listeners to become acquainted with some of the greats of the Hawaiian jazz scene.

Noel Okimoto @ Instagram

Title - Soundtracks
Artist - Tim Morse

For those unaware, Tim Morse is a progressive rock musician/composer. He has also been a member of The Mangoes, The Jerry Jennings Band and Parallels (Yes tribute).

In 2005 he released his first album, Transformation, recorded with the help of multi-instrumentalist Mark Dean (who also produced the album) and singer Richie Zeller.

His brand new solo album is entitled Soundtracks and is out now via Cymbalick Music.

1. Blueberry Way
2. Remembrance
3. Cityscape
4. Broken Compass
5. By The River
6. Balance
7. Soundtracks
8. Empty Vessels
9. As Yet Untitled
10. Solar Flare
11. Deidra
12. Mind Games
13. Lullaby
14. Vortex

This majestically-hued, wholly all-embracing, melodious new recording opens on the easy going, Beatles-esque pop-flow of Blueberry Way and the veritably glistening, thirty second instrumental Remembrance, the spiritedly free-flowing, synth-culled instrumental Cityscape, and then comes the dulcet Broken Compass, the tranquil nature of the instrumental By The River, the percussion-hued brilliance of the instrumental Balance, and the prog-AOR-pop meld of the titular Soundtracks.

Along next is the low slung, upright bass-hued instrumental Empty Vessels and the beautiful melodies that drive As Yet Untitled, and they are in turn followed by the charged instrumental Solar Flare, the flourishing instrumental ballad Deidra, his Eastern-tinged rendition of John Lennon’s Mind Games, the album rounding out on the easy going Lullaby, closing on a ethereal swirls that embodies Vortex.

Musicians:
Tim Morse / vocals, keyboards, acoustic and electric guitars, ebow guitar, mandolin, banjo, other stringed things, bass guitars, drums and hand percussion.

www.timmorse.com

Tim Morse @ Facebook

Tim Morse @ YouTube

Title - Dystopia 31 [2CD]
Artist - Muellercraft

Neo-prog brainstorm? Techno/SynthPop Frankenstein? Rustbelt New Wave resurrection? Muellercraft is all of the above and more.

Led by songwriter/multi-instrumentallist Jay Mueller, this is a band that brainstorms through the boutique niches of the modern music scene with audacious abandon.

Muellercraft can be myriad layers of lush guitar textures or a simple acoustic strum. An unexpected tempest of massive drumming rumbles forth and then retreats to clear the stage for a sparse electro-beat.

A tapestry of synth textures supports massive vocal pyramids - or lays the foundation for lofty spires of sublime instrumental composition.

With a lyrical vibe evoking the ambition of the Progressive Rock, the pop sensibility of New Wave and the grit of Post-Industrial Techno, Muellercraft asks questions, throws down challenges, and offers unapologetic hope.

Is your mind hungry? Are your ears ready? Then just ... listen!

CD 1:
1. Fast Forward
2. Megacity
3. Better in the Future
4. Our Great Leader
5. Man of the Hour
6. Minister of Love
7. I’m With You
8. When Did It Happen
9. Believe
10. Mission
11. Troubled Sleep
12. Comes the Dawn
13. Age of Reason
14. Move Along

Mastered and mixed by Gary Tanin, the effect of a close working relationship with Jay Mueller, this brilliantly sculpted two-disc recording opens on the building pulsations within Fast Forward and the synthtasic sounds of Megacity and then we get the free spirited 80s synth work of Better in the Future, the warm bass lines of Our Great Leader, the atmospherically driven Man of the Hour, and both the blues-hued Minister of Love and the prog-AOR of I’m With You.

Along next is the pop-rocker When Did It Happen and the free flowing Believe and they are in turn backed by the acoustic Mission, the harder hitting synth lines of Troubled Sleep, the harmonized Comes the Dawn, the first disc rounding out on the gently countrified, mid-tempo rock of Age of Reason and the playful 80s-imbibed beats of Move Along.

CD 2:
1. Help Me
2. Prison of Mind
3. You Can’t Say That
4. The Best We Could
5. The Wrong Man
6. Power to Serve
7. Sabotage
8. Revolt
9. The Price of Victory
10. After the Fall
11. By This Light
12. No Mistake
13. Rewind
14. Remember

The second disc opens on the renaissance-imbibed beats that drive Help Me and the foot to the floor rocker Prison of Mind, and they are backed by the rhythmical rock of You Can’t Say That, the flourishing The Best We Could, the organ-fed, Choir-hued The Wrong Man, and then we get both the alt-pop vibe of Power to Serve and the delightful, veritably ethereal Sabotage.

Up next is the rocker Revolt and the soaring synth chords of The Price of Victory and they are then followed seamlessly by the glorious After the Fall, the R.E.M.-esque By This Light, the all-embracing No Mistake, the disc, along with the collection, closing on the pop-synth lite bounce of Rewind and the impassioned Remember.

www.muellercraft.com

Muellercraft @ Facebook

Muellercraft @ Instagram

Title - Space in Time
Artist - Bennett Wood

For those unaware, saxophonist, composer and educator Bennett Wood has just released is brand new recording, Space in Time. Mostly done as a Quartet, we find that two out of eight compositions expands to a Quintet, the other instrument being the trombone, which decidedly adds a whole host of new shapes arrangements to the musical proceedings.

“Space in Time is my debut album as a leader,”, Bennett himself reveals. “The title track draws inspiration from the books Only the Ball Was White by Robert Peterson and The Baseball 100 by Joe Posnanski. Both works highlight the incredible athletic feats and adversity faced by black baseball players in the professional negro leagues.”

“As a lifelong baseball junkie, reading about Josh Gibson, Oscar Charleston, Satchel Paige, and other greats was impactful. They were all-time greats whose achievements were not celebrated and recognized to the same degree as their white counterparts during their lifetimes.”

The rhythm section features pianist Andrew Ouellette, bassist Bob DeBoo, and drummer Joseph Winstein-Hibbs.

1. Catamaran
2. Fourth Wall
3. Space in Time
4. Obfuscation
5. Chilé Y Limón
6. Left Alone
7. Gordian Knot
8. For All We Know

The new album opens on the opulently swinging Catamaran and then the Grammy-nominated trombonist and composer Alan Ferber comes to the fore on the Latin-tinged hipsway of Fourth Wall, before we are brought forth the luxuriant title track Space in Time and the jaunty sculpted opulence of Obfuscation.

Along next are the propellantly fervent melodies that bring us Chilé Y Limón which is in turn backed seamlessly by the low slung, dulcet nature of the languishing Left Alone, the album rounding out on the playful, yet resoundingly flirtatious Gordian Knot, closing on a veritably cinematic scope found lushly within For All We Know.

www.mendelsonproductions.com

www.bennettwoodmusic.com

Title - Be My Valentine, Charlie Brown (50th Anniversary)
Artist - Vince Guaraldi

For those unaware, Lee Mendelson Film Productions (LMFP) is thrilled to announce the release – for the first time ever – of the complete Vince Guaraldi soundtrack for Be My Valentine, Charlie Brown, the timeless 13th animated Peanuts® special, from writer and creator Charles Schulz, director Phil Roman and producers Bill Melendez and Lee Mendelson.

Originally airing on January 28th, 1975 on CBS-TV, it went on to be nominated for an Emmy® for Outstanding Children’s program. The special is currently available for streaming on Apple TV+.

All versions of the album include the original 24 cues that comprise the score of the special – mixed into 22 tracks – most available for the first time – plus another eight bonus or alternative tracks never heard before. This 42-minute soundtrack is the longest individual soundtrack released by LMFP to date.

Guaraldi brought original mid-tempo tunes, his classic favorites, and even a mambo to the score for a journey into love with the Peanuts gang. He utilized a new invention called the ARP String Ensemble synthesizer throughout the special to give the score a distinctive string-laced sound.

1. Heartburn Waltz
2. Heartburn Waltz (Reprise)
3. Linus and Lucy
4. Valentine Interlude #1 / Heartburn Waltz (2nd Reprise)
5. Piano Sonata No. 20 in G Major, Op. 49 No. 2 - 1. Allegro ma non troppo
6. Heartburn Waltz (3rd Reprise)
7. Linus and Lucy (Reprise)
8. Paw Pet Overture
9. Freddie’s Mood (Chopin’s Nocturne in E Flat Major, Op. 9 No. 2)
10. Heartburn Waltz (4th Reprise)
11. Never Again
12. Music Box Dance (Bach’s Minuet in G Major, BWV Anh. 116)
13. Woodstock’s Mambo
14. Heartburn Waltz (5th Reprise)
15. Jennie L.
16. Heartburn Waltz (6th Reprise)
17. Valentine Interlude #2 / Heartburn Waltz (7th Reprise)
18. There’s Been a Change
19. Woodstock’s Revenge
20. Charlie Brown’s Wake-Up
21. Heartburn Waltz (8th Reprise)
22. Freddie’s Mood [Show Version]

This simply magical flashback to an era more welcomed than our current one, opens on the shimmering Heartburn Waltz and the longer reprise, before we are brought forth the iconic Linus and Lucy theme tune, the elegant classical work Valentine Interlude #1 / Heartburn Waltz (2nd Reprise), the sparkling Piano Sonata No. 20 in G Major, Op. 49 No. 2 - 1. Allegro ma non troppo, a third reprise of Heartburn Waltz, a shirt reprise of Linus and Lucy (Reprise), and they are backed by the jaunty Paw Pet Overture (which was also used in 2002’s V For Vendetta), the elegance of Freddie’s Mood (Chopin’s Nocturne in E Flat Major, Op. 9 No. 2), a fourth reprise of Heartburn Waltz and the jazzified Never Again.

Along next is the beautiful Music Box Dance (Bach’s Minuet in G Major, BWV Anh. 116), the short, but sweet Woodstock’s Mambo, and they are in turn followed by the fifth reprise of Heartburn Waltz, the languishing Jennie L., a sixth reprise of Heartburn Waltz, a glistening, albeit short Valentine Interlude #2 / Heartburn Waltz (7th Reprise), the simply darling There’s Been a Change, the spirited banger Woodstock’s Revenge, the translucent Charlie Brown’s Wake-Up, the original selection closing on an eight reprise of Heartburn Waltz and the sophisticated piano piece Freddie’s Mood [Show Version].

Bonus Tracks:
23. Heartburn Waltz [Bonus Mix]
24. Jennie L. [Alternate Take]
25. Heartburn Waltz [Alternate Take]
26. Woodstock’s Mambo [Bonus Mix]
27. Heartburn Waltz (Reprise) [Bonus Mix]
28. There’s Been a Change [Alternate Take]
29. Heartburn Waltz (5th Reprise) [Bonus Mix]
30. Last Call for Love

The recording features Guaraldi (piano, electric piano, clavinet, ARP String Ensemble electric harpsichord and guitar), Seward McCain (bass), Vince Lateano (drums) and John Scott Trotter as the music supervisor. The soundtrack was produced by Sean Mendelson and Jason Mendelson; mixed at Bones and Knives by Terry Carleton and restored and re-mastered by Vinson Hudson.

The physical copies will include liner notes that give a track-by-track analysis by Derrick Bang and notes from Sean Mendelson and Jason Mendelson, sons of Peanuts producer Lee Mendelson and producers of the record. The LP liner notes are four pages, the CD liner notes are eight pages, and all versions contain images from the special, rare photographs and images from the original tape boxes recently re-discovered that led to this release.

The album will be available January 17th, 2025, including an exclusive variant on Heartburn Red vinyl (12” BioVinyl) as a Record Store Day Indie Exclusive, that will be available at participating stores. Pre-Order here. It will also be available on Puppy Love Pink vinyl (12” BioVinyl) from Barnes and Noble.

The 42-minute album will also be available on black vinyl (12” BioVinyl), CD, and digitally.

Official Apple Music Purchase Link

Title - In Between
Artist - Matt Turk

For those unaware, Matt Turk releases his 6th solo studio album with longtime producer and friend Kevin Hupp. “In Between” is a collection of 7 original tunes crafted over the last several years highlight Turk’s dedication to song craft with great success.

Satisfying original melodies, strong, clear lyrical content, professionalism and expertise embody “In Between,” itself a great group of tunes with production on point, which all showcases the fact that “In Between” is a triumph, whichever way you listen to it.

1. “Everybody in the World”
2. “In the Middle of the Night”
3. “Without Her”
4. “I am a Guitar”
5. “Lottery”
6. “This Old Way”
7. “Beautiful Day”

This magnificently sculpted new recording opens on the beautifully elegant, Dylanesque “Everybody in the World” and that is backed nicely by the jaunty pop sensibilities of “In the Middle of the Night,” the free flowing “Without Her,” the countrified balladry of the languishing “I am a Guitar,” before the lonesome ode “Lottery” is brought forth, the album rounding out on the effectively impassioned “This Old Way,” closing on a pleasingly gentle hipsway that guides “Beautiful Day.”

With a working friendship that spans 25 years, Matt Turk and Kevin Hupp (Iggy Pop, Rufus Wainright, Ian Hunter, Maceo Parker, Rick Derringer, Edgar Winter, Eddie Van Halen) have reemerged with a dynamic, clear new recording together. For a recent recording session of “Riley Shy”, a collaboration for Illusion Genius Ben Robinson’s new work Majikal, Turk brought in Kevin Hupp to nail the drums at the session with Hamilton bassist, Deadgrass’ Dave Richards and Grammy Winner, Sherwood Ridge studio owner C Lanzbom.

After the session Turk and Hupp were speaking of new creative projects and both realized there was a window of opportunity to ride together again and cut a new record. Over the last years, these two seasoned vets endured changes yet again in the music industry, Covid and rediscovered a deeply shared love of song craft and recording.

It was out of this context that In Between was born. Agreeing to meet over the summer of 2024 at Hupp’s studio, the Groove Room, Turk wrote all words and music, and co-writing “Without Her” with Hupp. Matt Turk sings, plays acoustic guitar, mandolin, mandola and electric guitar.

Kevin Hupp produced In Between, plays drums, percussion, keyboards and sings background vocals. Along with bassist David Richards, the three together embarked on a joyful journey creating “In Between”.

www.turktunes.com

Title - Merry Marvel Marching Society [Vinyl]
Artist - Various

The Merry Marvel Marching Society was a fan club created by Stan Lee and Martin Goodman in 1964. It was a subscription membership that allowed comic fans to get special memorabilia and a membership card.

One of the included items was a 7” vinyl record called The Voices Of Marvel featuring a word from the team behind their favorite comics. By the end of 1965, the club had 40,000 members - this allowed for better collectible items delivered to their members.

Recently uncovered were seven singles that featured theme songs from the major marvel superheroes 60’s television cartoons. Remastered and compiled, this RSD Release features the seven tracks, plus an exclusive poster - a must have for Marvel historians and fans alike!

Exclusive vinyl produced by Disney in celebration of RSD Black Friday 2024. Only 6000 copies worldwide.

Side A:
1. Merry Marvel Marching Society
2. Captain America Theme
3. Iron Man Theme
4. Incredible Hulk Theme

Side B:
5. Marvel Superheroes Have Arrived
6. Mighty Thor Theme
7. Sub-Mariner Them

Putting the needle on the record, Side A opens on the joyfully vibrant, alive and swinging singalong Merry Marvel Marching Society, then we get some one minute cuts of individual characters: the sterner fare of the informational Captain America Theme, the lighter, breezier swing-along of the Iron Man Theme, the side rounding out on the happy and fun ode within the Incredible Hulk Theme (“Ain’t no monster-clown who is as lovable.”)

Flipping the vinyl LP over, and along next is my own personal favorite track on this wondrous flashback collection, the tell-it-like-it-is Marvel Superheroes Have Arrived (“Meet the sulky, over bulky, kinda hulky superhero; Optimistic and electrically transistored superhero; An exotically neurotic and aquatic superhero; The Marvel superheroes have arrived!”), and that is backed by the resplendent fanfare that drives the Mighty Thor Theme, the collective recording closing on the impassioned voice (who sounds like he must have sung “You’re a Mean One, Mr. Grinch”) that drives Sub-Mariner Theme.

www.disneymusicemporium.com

www.hollywoodrecords.com

Title - Myriam Phiro
Artist - Becoming Marlene Dietrich

For those unaware, Myriam Phiro is an internationally-recognized French-Canadian performer, band leader and cabaret chanteuse who has performed on stages and in theaters worldwide.

Lead singer/founder of Nuage Rhythm “Mariposa", The Phirocious Swing Orchestra & Jolie Môme, she is currently promoting “BECOMING MARLENE DIETRICH”, her newly released Marlene Dietrich tribute CD and “PHIRO chante PIAF”, her latest Edith Piaf tribute CD.

In the dimly lit cabarets of 1920’s Berlin, a legend was born. Marlene Dietrich emerged as the epitome of glamour, sensuality, and timeless allure. With her signature husky voice, enigmatic persona, and a charisma that could captivate nations, she became an iconic figure of the silver screen.

As aforementioned, Myriam’s brand new album “Becoming Marlene Dietrich” pays homage to this incredible diva and her indelible mark on the world of entertainment.

Marlene’s legacy lives on in every sultry note, every smokey glance, and every seductive whisper. Please join us in celebrating the indomitable spirit of Marlene Dietrich: a woman far more ahead of her time, a symbol of anti-fascism and sexual freedom, and a tantalizing icon of beauty, undeniable elegance and absolute pizzazz.

1. You’ve Got That Look (3:05)
2. Lili Marlene (3:08)
3. Makin’ Whoopee (3:52)
4. Que Reste-t-il/I Wish You Love (4:34)
5. La Vie En Rose (4:22)
6. Quand L’Amour Meurt (3:00)
7. Where Have All The Flowers Gone (4:21)
8. Jonny, Wenn Du Geburtstag Hast (2:36)
9. Golden Earrings (4:05)
10. Another Spring, Another Love (2:17)
11. The Boys In The Back Room (1:50)
12. My Blue Heaven (3:49)
13. Falling In Love Again (3:44)

This majestically-sculpted, wholly heartwarming, melodious new recording opens on the easy going You’ve Got That Look and the luxuriant Lili Marlene, and they are followed by the sweeping elegance of Makin’ Whoopee, the upright bass-led, dulcet, yet cultured Que Reste-t-il/I Wish You Love, and then we get an enraptured La Vie En Rose and the delicately-imbibed Quand L’Amour Meurt brought forth.

Up next is a beautifully indulgent Where Have All The Flowers Gone and the gently furtive, playfully flirtatious Jonny, Wenn Du Geburtstag Hast, and they are in turn backed seamlessly by the opulent Golden Earrings, a simply breathtakingly atmospheric Another Spring, Another Love, the upbeat swinger The Boys In The Back Room, the recording rounding out on a sumptuous My Blue Heaven, closing on her affectionately dutiful rendition of Falling In Love Again.

Musicians:
Myriam Phiro: vocals
Hyuna Park: Hyuna Park: piano, accordion, music direction & arranging
Elias Bailey: upright bass & production
Alex Raderman: drums
Linus Wyrsch: tenor saxophone & clarinet

Official Becoming Marlene Dietrich Purchase Link

Official PHIRO chante PIAF Purchase Link

www.myriamphiro.com

Myriam Phiro @ Facebook

Myriam Phiro @ YouTube

Title - Nistri - Panichi [2LP]
Artist - Vittorio Nistri & Filippo Panichi

Psychedelic chamber music and experimental electronics: these are the main ingredients of this album.

Filippo and Vittorio’s experiments (based on unusual synthesizers, self-built instruments, found and processed sounds, etc.) are combined with the scores created by Vittorio for a chamber music ensemble composed of cello, viola, double bass, trombone, clarinet, saxophone.

Guests, among others, Silvia Bolognesi of the Art Ensemble of Chicago and Enrico Gabrielli.

It is a moving and intense album, where each song opens up different scenarios of imagination, which has its own particular and original way of combining noise and melody, as well as experimental research and feeling.

The album is available both on double vinyl (engraved on three sides) and on 3-fold digipack CD. In both versions it is accompanied by artwork and booklets that are out of the ordinary, for their quality and care.

Side A:
1. Il Faro di Schrodinger [4:42]
2. La risacca dell’alba [6:59]
3. Maya Deren Blues [8:14]

Side B:
4. Pipistrelli sul frigorifero [4:47]
5. Segreti [3:02]
6. Sheriff in Tiraspol [6:21]

Side C:
7. La Costante Elastica [6:31]
8. Giulietta sotto spirito [5:45]
9. Prove tecniche di solitudine [3:35]

Putting the vinyl on the record player, our journey into this electronic-psychedelic-progressive chamber music extravaganza opens on the immediately dreamy soundscapes, coalesced with fissured arrangements within Il Faro di Schrodinger, and then proceeds to bring us the intricate melodies and harmonies of La risacca dell’alba, this part rounding out on the melodiously-strived, playfully-sculpted, synth-pop feel of Maya Deren Blues.

Continuing our vinyl experience, this ambitiously-crafted vinyl begins with the ethereally-foreboding, at times jauntily enigmatic, and yet always harmoniously propellent Pipistrelli sul frigorifero, which is followed by the more sculptured ambiance of Segreti, culminating with the starkly-atmospheric, spikey, yet never overly pointed, all-embracing notations of neo-jazz and fuzzy guitar work that drive Sheriff in Tiraspol.

The final vinyl story told by this innovative Italian duo opens on the foreboding, ominously portentous, yet surprisingly pleasingly psychedelic pulses of La Costante Elastica, then we get brought forth the veritably cinematic, spatially flirtatious Giulietta sotto spirito, the whole collection coming to a close on the lushly elegant orchestral arrangements of Prove tecniche di solitudine.

Something that needs to be reasserted here is that the album’s unique release format truly sets it apart, showcasing the artist’s commitment to delivering a high-quality, immersive listening experience.

Distributed through the eclectic Italian label Snowdonia Dischi, it’s available in two distinct formats – a 3-panel digipack CD and a deluxe gatefold sleeve housing double vinyl.

The vinyl pressing is engraved on three sides, a striking design choice that not only maximizes the available space but also imbues the physical format with an air of exclusivity and craftsmanship.

Vittorio Nistri @ Facebook

Filippo Panichi @ Facebook

Title - Dead Rock ’N Rollers
Artist - Detention

For those unaware, Detention was one of the first and best bands of the ‘80s New Jersey hardcore punk explosion. Their wonderfully tasteless “Dead Rock ’n Rollers” single became the college radio cult classic of 1983.

The song’s 97 seconds of primal Ramones-style speed-punk mocked the demise of Jimi Hendrix, Janis Joplin, John Lennon, Keith Moon, Elvis Presley, Jim Morrison, Sid Vicious, John Belushi, and John Bonham — who “played the drug game and couldn’t maintain.”

They even foretold the drug-related heart attack of Jim Carroll, famous for “People Who Died,” screaming, “What are you waiting for? Do it!” Saving the best for last, “Dead Rock ’n Rollers” raised the obvious question: “Why couldn’t it be Barry Manilow?” — Steven Blush, author/filmmaker, 2024.

The Detention story goes back to Central Jersey, to the Shields family home in Hillsborough Township, about 20 minutes from the culture capital of New Brunswick. Kevin Shields, the fourth of five sons, grew up listening to his older brothers’ sophisticated record collection of hippie music that ranged from Blue Cheer to King Crimson. Kevin recalls, “Early on, I knew that rock ’n roll was something special, I was fascinated.”

The band - Kevin, Rodney, frontman Paul Shields, and drummer Daniel Shields - played their first show at Raritan Manor on the Sommerville Circle, hosted by a young Matt Pinfield in his first radio DJ gig at WRSU (Rutgers).

It was a noisy and chaotic affair, with people rolling on the floor --- until police arrived and stopped the mayhem. Rob Roth had a vision. He got the guys into the studio in Roselle Park, which he also paid for himself. All they had to do was get good recordings of the two songs, including the B-Side El Salvador.

They came out great and in 1985, Detention released a self-produced self-titled album before disbanding.

1. Dead Rock ’N Rollers [1:37]
2. El Salvador [2:31]
3. Anti A [1:26]
4. Route 35 South [2:18]
5. Teenage Panty Fantasy [1:51]
6. Bad Dream [1:16]
7. Too Noisy [1:09]
8. Anxiety Attack [1:54]
9. Beach [2:10]

This brilliantly vibrant and still so alt-punk-perfect recording opens on the lyrically name-dropping extravaganza of their debut single Dead Rock ’N Rollers and then its 7 inch single B-side, the strident El Salvador, and then we get brought forth the strikingly fervent Anti A and the rhythmical guitar charge of Route 35 South.

Up next on this incredible showcasing of East Coast punk rock is the melodious alt-pop-rock of Teenage Panty Fantasy which is in turn backed by the foot to the floor rocker Bad Dream, the angst-charged Too Noisy, closing on the free-flowing brilliance of Anxiety Attack and their drum-led, regionally specific take on the Beach Boys sound via their punk rocker Beach.

This 9-song CD in gatefold jacket with the original single artwork by Jeff Jamieson and liner notes by author/filmmaker Steven Blush, Matt Pinfield and Dave Scott, is available now and can be purchased via the link below.

www.leftfordeadrecords.com

Title - Crimson Roses - Contemporary American Choral Music
Artist - Turrin, Einhorn & Lyons

For those unaware, Crimson Roses - Contemporary American Choral Music is the world premiere recordings of three new important choral works by American composers Richard Einhorn, Gilda Lyons and Joseph Turrin.

The Musica Viva NY Choir and Orchestra make their Naxos debut with these recordings, conducted by their artistic director Alejandro Hernandez-Valdez.

Richard Einhorn’s The Luminous Ground is a deeply reflective and spiritually engaging work, while Gilda Lyons’ brilliantly written Momotombo is inspired by the spectacular volcanic landscape of Nicaragua. Joseph Turrin’s Crimson Roses Once Again Be Fair is a moving cantata that marks the centenary of the First World War Armistice in November of 1918 – the piece is dedicated to those who bravely fought and died, forever enshrined in history.

Joseph Turrin
And Crimson Roses Once Again Be Fair
1. Prelude [1:37]
2. I. Let us remember Spring will come again – May 1915 [2:39]
3. II. Rejoice, friends! That we are alive - [1:06]
4. III. Bombardment 02:33]
5. IV. Evening at the Front [2:12]
6. V. I am the Division Commander – A Lieutenant General Sings 01:40]
7. VI. Soliloquy – The Last Meeting [6:26]
8. VII. Anthem for Doomed Youth [1:51]
9. VIII. In Flanders Fields [3:37]
10. IX. Interlude [2:56]
11. X. Poor Dogs [2:51]
12. XI. The Mortars [2:05]
13. XII. Elegy - [2:43]
14. XIII. Perhaps [3:38]
15. XIV. Let us remember Spring will come again (Epilogue) [3:33]

This lavish new collection, opens on the eponymous And Crimson Roses Once Again Be Fair from Turrin, and begins with the flourishing, veritably Holiday-induced Prelude, before continuing onwards with the shimmering Let us remember Spring will come again – May 1915, the sterner fare of the robust Rejoice, friends! That we are alive, the gently harmonized Bombardment, the playfully spirited Evening at the Front, and then we are gifted the melodious I am the Division Commander – A Lieutenant General Sings, a dutifully quiet stillness that resides within Soliloquy – The Last Meeting, the engaging Anthem for Doomed Youth, the set rounding out on the atmospheric In Flanders Fields, the rousing Interlude, a gilded Poor Dogs, closing on the rambunctious The Mortars, the dulcet Elegy, the elegant Perhaps and the reflective Let us remember Spring will come again (Epilogue).

Richard Einhorn
The Luminous Ground
16. The Luminous Ground [6:28]

Up next is the near seven minute work The Luminous Ground by Einhorn, which is, in and unto itself, a steadily gripping work of musical art, without a shadow of a doubt. Featuring moments of both sumptuous elegance combined with a more foreboding allure, the piece is simply breathtaking here.

Gilda Lyons
Momotombo
17. I. El tren iba rodando sobre sus rieles [3:08]
18. II. The baptism of volcanoes [2:17]
19. III. ¡Momotombo! - exclamé [2:03]
20. IV. Evocación [3:23]
21. V. Yo tenía quince años [1:27]

The third and final work Momotombo by Lyons opens on an ambient strength within El tren iba rodando sobre sus rieles and a more stylized stillness within The baptism of volcanoes, and then we get the resiliently sculptured ¡Momotombo! - exclamé, the pleasing Evocación, closing on the beautifully coalesced Yo tenía quince años.

Official Apple Music Purchase Link

www.naxos.com

Title - Persist
Artist - Ethel

For those unaware, in celebration of the courage, patience and resilience displayed by people in times of great difficulty, ETHEL, the GRAMMY®-winning, genre-defying string quartet, joins forces with Allison Loggins-Hull, composer, flutist, producer, and Daniel R. Lewis Composer Fellow to the Cleveland Orchestra.

Together, they have elicited new commissions from four brilliant early-career composers: Migiwa “Miggy” Miyajima, Xavier Muzik, Sam Wu, and 2022 Pulitzer Prize finalist, Leilehua Lanzilotti. Loggins-Hull herself contributed her own masterwork to the project.

Passionate, committed, hopeful and inspiring, each piece contributes to an experience which surpasses the sum of its parts.

Taking its title from Loggins-Hull’s quintet, Persist marks the fifth iteration of HomeBaked, ETHEL’s commissioning program for early-career composers.

The initiative, begun in 2010, has commissioned and debuted 20 works by 16 early-career artists. Loggins-Hull teamed with ETHEL to solicit, select, and collaborate with composers from historically underrepresented backgrounds. Supported by two NEA grants, the program was premiered in 2022 at Brooklyn Public Library, and tours in 2024/25.

Allison Loggins-Hull
1 Persist [11:14]

Xavier Muzik
2 PillowTalk [13:27]

Migiwa “Miggy” Miyajima
3-6 The Reconciliation Suite
1. The Unknowns [2:16]
2. Never Be the Same [4:30]
3. Mr. Rubber Sole from the Digital World [2:51]
4. The Blooming Season [4:12]

Sam Wu
7 Terraria [7:25]

Leilehua Lanzilotti
8-10 we began this quilt there
i. Uluhaimalama [3:35]
ii. Ku‘u hae aloha [1:00]
iii. Paoakalani [4:02]

This exquisitely sculpted new recording opens on Allison Loggins-Hull’s titular Persist, a hauntingly ethereal, yet encouraged to elegantly flourish as the piece moves work, and that is followed by Xavier Muzik’s truly sumptuous, if not staggered throughout with engaging shafts of stern, yet cultured moments of wonderment PillowTalk, and then comes Migiwa “Miggy” Miyajima’s four-piece The Reconciliation Suite: the carefully flighty The Unknowns, the breathy stillness of Never Be the Same, the veritably cinematic Mr. Rubber Sole from the Digital World, culminating on the wistfully ornate gossamer of The Blooming Season.

Along next is Sam Wu’s atmospherically-charged masterpiece, Terraria, and which also happens to be my own favorite of the works culled together here on this quite breathtaking new recording. That is in turn then backed by Leilehua Lanzilotti’s decadent three-piece we began this quilt there, which itself begins with the defiantly enabled Uluhaimalama, the shorter, gently foreboding work Ku‘u hae aloha, coming to a close on an aching embrace that resides within a pulsing ebb and flow contained within the masterful Paoakalani.

Artist: Ethel, featuring Allison Loggins-Hull

Composers: Allison Loggins-Hull, Xavier Muzik, Migiwa Miyajima, Sam Wu, and Leilehua Lanzilotti

www.sonoluminus.com

Title - Situation
Artist - Alex Coke & Carl Michel Sextet

For those unaware, the Alex Coke and Carl Michel Sextet features saxophonist/flutist Alex Coke, guitarist Carl Michel, Austin Symphony principal harpist Elaine Barber, pedal steel player Bob Hoffnar (Liminal Sound Series), double bassist James Suter, and percussionist Carolyn Trowbridge on vibes.

This unique ensemble, which has origins in jazz, classical, folk, extended technique, and improvisation, will release their third album together, Situation on January 29th, 2024, on which the sextet continues its sonic exploration.

For this brand new musical outing, the six versatile musicians perform six originals by the co-leaders and one composition by Hoffnar, the playful Let’s Go To The Park.

1 - 440
2 - Sketchy
3 - The Seeker
4 - Sulkinkutsu 3
5 - Introduction to Aquarium
6 - Aquarium
7 - Situation
8 - 221
9 - Sea and Sky
10 - Let’s Go To The Park
11 - Crepuscule With Nellie
12 - Pines of Rome
13 - Miyako
14 - Sulkinkutsu 2

This majestically sculpted, earnestly heartfelt new recording opens on the whisperery melodies and notes of their version of The Carla Bley Band’s late seventies track 440 and the ethereally stoic construct of Sketchy, and then brings us the low slung, emphatically embodied The Seeker, the glistening Sulkinkutsu 3, the beautiful Introduction to Aquarium, which then itself leads into the ornate gossamer of Camille Saint-Saëns’s Aquarium, before we are brought forth the playful title track Situation.

Along next are the immersive sounds and rhythms within 221 and the free-flowing, atmospherically-charged Sea and Sky, and they are in turn backed seamlessly by the delicately-hued Let’s Go To The Park, the gently jaunty Crepuscule With Nellie (an homage to Thelonious Monk), their flourishing rendition of Italian composer Ottorino Respighi’s Pines of Rome, the album rounding out on a quietly cinematic take on Wayne Shorter’s Miyako, closing on the translucent appeal of Sulkinkutsu 2.

Following the success of their first two albums, the Alex Coke & Carl Michel Sextet continues its creative evolution. Situation weaves together the individual members contributions in a collaborative offering that could only be theirs.

Musicians:
Alex Coke/Flute & Sax, Carl Michel/guitar, Elaine Barber/Harp, Bob Hoffnar/Pedal Steel, James Suter/Bass, Carolyn Trowbridge/Vibes.

www.carlmichel.com

Alex Coke & Carl Michel Sextet @ Bandcamp

Title - All That Matters
Artist - Benjie Porecki

For those unaware, born in 1971, Benjie Porecki began playing trumpet at the age of ten. But it wasn’t until he took up piano two years later that everything fell into place. Already drawn to jazz and blues, he began to practice relentlessly and, after graduating from high school and attending a semester at the Berklee School of Music, decided to pursue music full-time.

He eventually found himself sitting in with musicians like Ron Holloway, Marshall Keys, and Chuck Brown and, as a result, learned an almost chameleon-like ability to play various styles of music on piano, synthesizer, and organ. His amazing versatility caught the attention of Severn Records who offered Benjie a recording deal.

Benjie’s affiliation with Severn brought further recognition with performances on several Severn-produced projects, and cutting to today and his brand new album All That Matters (due out January 1st, 2025 via Funklove Productions) features the versatile and distinctive pianist-organist performing melodic originals and covers in a jazz trio.

Ranging from accessible grooves to thoughtful ballads, here on All That Matters Benjie creates a program filled with variety and subtle surprises.

1. Passage of Time [4:14]
2. Just When I Needed You [5:21]
3. Wise Decisions [6:39]
4. Home At Last [4:13]
5. Sonora [5:29]
6. All That Matters [5:06]
7. Intermezzo [4:59]
8. Bring It On Home [6:24]
9. Letting Go [2:24]
10. She’s Gone [6:00]

Seated at the head of a most wondrous musical trio - including both bassist Michael Bowie and drummer Mark Prince - we are first brought forth the sweepingly elegant Passage of Time and a simply beautiful rendition of the Roberta Flack track Just When I Needed You, and then we get the organ-driven balladry of Wise Decisions, the furtively sculpted Home At Last, and the languishing jazz waltz Sonora.

Along next is the sedate gossamer spun within All That Matters, which is itself backed seamlessly by the soulful, late night, after dinner tune Intermezzo, my favorite track here, the Gospel-tinged Sam Cooke cut Bring It On Home is next, the album rounding out on the veritably shimmering Letting Go, closing on their lush take on the Hall & Oates classic She’s Gone.

Simply put, All That Matters is the latest accomplishment in Benjie’s career, a grooving and subtle trio outing that includes some of his most sensitive and inventive writing and playing.

Benjie Porecki @ Facebook

www.benjieporecki.com

Title - Almost Home
Artist - Groovology

For those unaware, Groovology is based in Honolulu, and was formed during the pandemic.

It comprises four talented and busy musicians: Aaron Aranita on woodwinds and piano, David Yamasaki on guitar, Ernie Provencher on bass, and Scott Shafer on drums.

The four musicians perform their own fresh and original compositions on their brand new album Almost Home (releasing January 1st, 2025 via Groovology Productions), with four composed by Aranita, two each by Shafer and Yamasaki, and one from Provencher.

Due to the group’s high level of musicianship, Almost Home features an impressive variety that explores many moods and styles.

1. Almost Home [5:38]
2. Mambosaki [6:06]
3. Groovology [5:45]
4. Bubbles the Clown [6:44]
5. The Path [7:20]
6. Brisa Tropical [6:50]
7. The Road Less Traveled [7:05]
8. Headroom [5:46]
9. Manoa [5:33]
10. Slybone [7:04
11. The Path (extended version) [9:17]

This vibrantly-hued, wholly impassioned new recording opens on the sweetly playful, exuberantly joyous title track Almost Home and then brings us the lushly jaunty mambo rhythms that drive Mambosaki, the luxuriant appeal of Groovology, the low slung finger-snapping, mid-tempo blues vibed Bubbles the Clown, and then they bring forth the sheer delicate gossamer of the dutifully serene The Path.

Along next is the buoyantly-cultured Brisa Tropical and the melodious, atmospherically-structured The Road Less Traveled, and they are in turn backed by the gently strident Headroom, the album rounding out on the late night soiree feel to the vocalized Manoa (from Sandy Tsukiyama) and the languish beauty of the swinging strut Slybone, the album coming to a close on an extended version of The Path.

Simply put, the four musicians combine their talents here to form Groovology, a highly appealing band that is heard in impressive form throughout this excellent new recording, Almost Home.

Musicians:
Aaron Aranita: Woodwinds, Piano, David Yamasaki: Guitar, Ernie Provencher: Bass, Scott Shafer: Drums, Sandra Tsukiyama: Vocals on Manoa.

www.aaronaranitamusic.com

www.davidyamasaki.live

Title - Brothers
Artist - Towner Galaher Organ Group

For those unaware, drummer-composer Towner Galaher’s fifth release, Brothers (released on Rhythm Royale Records on January 3rd, 2025), reunites him with his roots from his hometown of Portland Oregon and his musical brothers, organist Jimmy Sanders and bassist Randy Monroe, with whom he made his first two recordings in 1979 and 1980.

Also on this recording are tenor saxophonist extraordinaire, Craig Handy and the stellar guitar work of Marvin Horne, both from NYC where Galaher has called home since 1986.

Brothers features a set of eight original compositions written by Sanders and Galaher, both collaboratively and individually. The songs cover a wide range of styles and moods with tight, energetic rhythm section grooves and burning solos throughout. Creativity, passion, joy and friendship are on full display here on the aptly titled, Brothers.

1. Brothers
2. Hit It and Quit It
3. Rio-Lization
4. The Diamond Chalice
5. Piece of the Action
6. Cahva Bite?
7. Past Present and Future
8. Seventh Heaven

With every composition on Brothers having a different groove, keeping the album interesting from the very first note to the last, this brand new set written by Sanders and Galaher, both collaboratively and individually, opens on the soulfully smooth title track Brothers and then we get brought forth the funk laden beauty Hit It and Quit It, the veritably cinematic Rio-Lization and the languishing balladry of The Diamond Chalice.

Along next is the emphatically confident Piece of the Action, which is in turn followed seamlessly by free flowing funk-soul grooves on Cahva Bite?, the emboldened Past Present and Future, the new collection coming to a close on the joyously sculpted Seventh Heaven.

Towner Galaher @ Facebook

Title - Motown Sound Collection [More & More New Reissues]
Artist - Various

The collection concludes now on December 13th, 2024 with three more classics in the form of The Temptations’ Solid Rock (140 Gram Limited Gatefold Edition Vinyl), Gladys Knight & the Pips’ Neither One of Us (Wants to Be the One to Say Goodbye) (140 Gram Limited Edition Vinyl Gatefold Sleeve), and finally the Undisputed Truth’s album (140 Gram Limited Edition Vinyl).

Released by Motown in 1972, The Temptations’ Solid Rock features vocals by Dennis Edwards, Melvin Franklin, Otis Williams, Damon Harrys, and Richard Street. It was the first LP recorded by the group without the original lead singers Eddie Kendricks and Paul Williams.

While Williams kept a low profile while talking about The Temptations (he appears on this LP only on “It’s Summer”,) Kendricks and ex-Temptations David Ruffin openly criticized the direction the group was taking.

Thus, produced Norman Whitfield issued the single “Superstar (Remember How You Got Where You Are),” as a way to make a statement. The album’s third single, “Take a Look Around,” was a Top 30 hit.

This reissue is coming out as a 140 Gram Limited Gatefold Edition Vinyl.

The Temptations - It’s Summer (Music Video)

SIDE ONE:
1. TAKE A LOOK AROUND (2:46)
2. AIN’T NO SUNSHINE (7:10)
3. STOP THE WAR NOW (12:20)

SIDE TWO:
4. WHAT IT IS? (5:07)
5. SMOOTH SAILING FROM NOW ON (2:47)
6. SUPERSTAR (REMEMBER HOW YOU GOT WHERE YOU ARE) (2:56)
7. IT’S SUMMER (2:56)
8. THE END OF OUR ROAD (2:46)

By this point in The Temptations’ story, producer and writer Norman Whitfield had taken over the plot with his ornate arrangements and impeccable production aesthetic. Unlike Sky’s the Limit, All Directions, or Masterpiece, which all boasted big hits for the group, Solid Rock admittedly lacked a huge single.

But that’s a good thing, as this ends up being one of the more consistent records in The Temptations’ run with Whitfield. Their take on Bill Withers’ “Ain’t No Sunshine” builds well and features stunning guitar work by Eddie Willis and Dennis Coffey. Though I tend to find Whitfield and lyricist Barrett Strong’s anti-war numbers a little forced on the singing group, “Stop the War” manages to work.

Flipping the album over, the second side boasts some of the group’s diamonds in the rough, most notably “What It Is?”, “Superstar,” and the beautiful “It’s Summer.” The record delicately balances Whitfield’s more pop and funky tendencies well, unlike its successor, All Directions, whose side of sweet funk is dragged down by the more baroque numbers on the second side. Simply put, Solid Rock is definitely one of the group’s best albums.

Released in 1973, Neither One of Us, the ninth studio album by Gladys Knight & the Pips, was their most successful work on the Billboard Top LP chart, reaching No.9. By the time of its release, the group had already left Motown and signed for Buddah Records.

The title song peaked at No.2 on the US Pop charts, and also lead the R&B charts. Daddy Could Swear, I Declare was a Top 20 hit on the Billboard Hot 100.

Gladys Knight & The Pips - Neither One Of Us (Music Video)

SIDE ONE:
1. NEITHER ONE OF US (WANTS TO BE THE FIRST TO SAY GOODBYE)
2. IT’S GOTTA BE THAT WAY
3. FOR ONCE IN MY LIFE
4. THIS CHILD NEEDS ITS FATHER
5. WHO IS SHE (AND WHAT IS SHE TO YOU)

SIDE TWO:
6. AND THIS IS LOVE
7. DADDY COULD SWEAR, I DECLARE
8. CAN’T GIVE IT UP NO MORE
9. DON’T IT MAKE YOU FEEL GUILTY

The lead single, “Neither One of Us” is a poignant breakup song whose lyrics perfectly and unpretentiously capture the final days of what was once a loving relationship. Songwriter Jim Weatherly, who also wrote “Midnight Train to Georgia,” obviously had a knack for lyrics that are simple yet richly human and true to life.

The record reached #1 on Billboard’s Soul Singles chart, and #2 on the Hot 100. It was the group’s biggest hit while at Motown, and one of their last. A short time later, “Midnight Train” was an even bigger hit, but by then the Pips had decamped to Buddah Records.

Chock full of Smooth and relaxing tracks (well, on the first side, anyway), with an underlying thread of sadness running through many of the songs, Gladys’ vocals really help to bring that bitter element through, which I have always appreciated.

Beyond that, the songs are usually about what you’d expect from smooth soul - piano and strings everywhere, relatively restrained energy (though some tracks like “This Child Needs Its Father” pick things up a bit), but nothing too robust, of course.

That said, ok, “Who Is She (And What Is She To You)” does add a little bit of angered paranoia to spice up the mood, I guess, but the tracks on the second side often have a poppier sound (“And This Is Love”, “Can’t Give It Up No More”), which, while helping with the variety, isn’t the style I personally prefer, but yet gives a little something to everyone, for sure.

The final album released this year is the self-titled debut album by the legendary Motown group, The Undisputed Truth, and which was released by Motown in 1971 with production by Norman Whitfield.

It contains the group’s number three pop hit and biggest hit single (also their only US Top 40 hit), “Smiling Faces Sometimes,” which peaked at #3 on the US Billboard Hot 100 Chart.

The album zoomed to #43 on Billboard’s Top 200 albums chart. The pop/psychedelic sounds tried by Whitfield on Bob Dylan’s song “Like a Rolling Stone,” give an indication of the path Undisputed Truth was soon to follow.

The Undisputed Truth - Save My Love For A Rainy Day (HD Vinyl Audio) (Music Video)

SIDE ONE:
1. You Got The Love I Need [2:57] 2. Save My Love for a Rainy Day [4:00] 3. California Soul [3:55] 4. Aquarius [2:39] 5. Ball of Confusion (That’s what the world is today) [10:30]

SIDE TWO:
6. Smiling Faces Sometimes [3:05] 7. We’ve Got A Way Out Love [2:55] 8. Since I’ve Lost You [3:20] 9. Ain’t No Sun since You’ve been Gone [2:42] 10. I heard It Through the Grapevine [2:51] 11. Like a Rolling Stone [6:35]

In truth, this album has always been one of my go-to favorite Undisputed Truth albums, having had it on vinyl for decades now. A beautiful original mastering on the 1971 virgin record, but if you liked this kind of music then, trust me, buy this brand new 140 Gram Limited Edition vinyl edition, as that sound has now escalated in a most beautiful way.

In a quirky onset twist, producer and writer Norman Whitfield actually formed the group as an experiment, speculating that he could produce an act from nowhere and garner a hit record. But I digress, as this self-titled debut album only contained one song specifically written by Whitfield for it.

Including the wonderfully conventional soul breeze of Save My Love for a Rainy Day, a cover of The Temptations (as is Smiling Faces Sometimes), the sweet northern soul stomper You Got the Love I Need still sounds impassioned today, and together with the girls’ sweet harmonies and chorus sweetening the grit of Harris’ vocal delivery, covers such as California Soul and a ten minute extended Ball of Confusion (with plenty of in-era “right on!”s), as well as Bob Dylan’s Like a Rolling Stone, underlined just how damn good this band was.

www.elemental-music.com

www.motownrecords.com

Title - The Reggae Christmas Collection [2CD]
Artist - Various

For those unaware, Christmas: the time of the year when thoughts turn to fun, family and jollity, and of course reggae!

Yes, despite the music’s long association with blues skies and summer, the festive season is of course also a time of great celebration in the Caribbean and from the 1960s to the 80s almost every Jamaican producer of note marked the holiday by releasing a seasonal recording performed by a leading recording artist.

And of all the Kingston’s major music makers, none proved more committed to celebrating Christmas than Joe Gibbs, who between 1978 and 1982 released two albums, largely comprising medleys that featured such renowned performers as Dennis Brown, Horace Andy, Jacob Miller, Culture, June Lodge, The Mighty Diamonds, Trinity and Sly & Robbie. Both these celebratory collections feature on the first disc on this fun-filled set, which also features popular singles from Kodak &Liza and Home T-4.

Disc Two showcases two more giants of the Jamaican music scene in John Holt and Yellowman, whose respective long-players are arguably the best-selling reggae Christmas single artist LPs ever to see issue.

CD 1:
THE JOE GIBBS FAMILY OF ARTISTS – ‘REGGAE CHRISTMAS’
1. Christmas Medley – Sleigh Bells Chant // Jolly Old St. Nicholas // Little Rockers Boy // Oh Holy Night // Love Gets Better At Christmas // The Christmas Song // I Saw Three Ships // Christmas Bells Are Ringing // Rappers Rockers Delight // Silent Night // Auld Lang Syne
‘The Joe Gibbs Family Of Artists’:
2. On The Twelve Day Of Ismas – The Joe Gibbs Family Of Artists
3. We Three Kings – The Joe Gibbs Family Of Artists
4. Deck The Halls – The Joe Gibbs Family Of Artists
5. Winter Wonderland – The Joe Gibbs Family Of Artists
6. Oh Little Town Of Bethlehem – The Joe Gibbs Family Of Artists
THE JOE GIBBS FAMILY OF ARTISTS – ‘REGGAE CHRISTMAS’
7. Christmas Rockers Medley – ‘The Joe Gibbs Family Of Artists’ - Joy To The World // Deck The Halls // Christmas Is Coming // O Come Let Us Adore Him // O Come All Ye Faithful // Jingle Bells // Hark The Herald Angels Sing // Santa Claus is Coming To Town // I’m Dreaming Of A Black Christmas // Rudolph The Red Nosed Reindeer // Christmas Breeze // The First Noel // Joy To The World // We Wish You A Merry Christmas
8. Rockers At Christmas Style - Joe Gibbs & The Professionals [BONUS TRACK]
9. Christmas Style – Kojak & Liza [BONUS TRACK]
10. Rock It For Christmas – Home T-4 [BONUS TRACK]
11. Christmas Mood - Joe Gibbs & The Professionals [BONUS TRACK]

With most tracks officially unavailable for decades, this brand new 2CD set opens on the absolutely fabulous, eleven track THE JOE GIBBS FAMILY OF ARTISTS – ‘REGGAE CHRISTMAS’ and then brings us five from The Joe Gibbs Family Of Artists: the drum-led, rhythmically soulful On The Twelve Day Of Ismas, the all-embracing We Three Kings, the upbeat and joyful Deck The Halls, and then we get both the smooth Winter Wonderland and the gently meldic Oh Little Town Of Bethlehem.

The first CD continues with the impressively abundant THE JOE GIBBS FAMILY OF ARTISTS ‘WISH YOU A MERRY CHRISTMAS’ fourteen track Christmas Rockers Medley and then come four bonus tracks: Joe Gibbs & The Professionals’ dutiful, almost instrumental hipsway of Rockers At Christmas Style, the forthright Christmas Style by Papa Kojak & Liza, the reggae bounce of Rock It For Christmas by the Jamaican vocal group Home T-4, the first CD rounding out on the atmospheric instrumental from Joe Gibbs & The Professionals, Christmas Mood.

CD 2:
JOHN HOLT ’THE REGGAE CHRISTMAS HITS ALBUM’
1. I Believe In Father Christmas - John Holt
2. Last Christmas - John Holt
3. Lonely This Christmas - John Holt
4. White Christmas - John Holt
5. Happy X-Mas (War Is Over) - John Holt
6. A Spaceman Came Travelling - John Holt
7. When A Child Is Born - John Holt
8. Santa Claus Is Comin’ To Town - John Holt
9. My Oh My - John Holt
10. Blue Christmas - John Holt
11. Auld Lang Syne - John Holt
YELLOWMAN ’A VERY VERY YELLOW CHRISTMAS’
12. Yellowman Is Coming To Town - Yellowman
13. Jamaica Jamaica, We Ain’t Got No Snow - Yellowman
14. Children Saw Mommy Kissing Yellowman - Yellowman
15. African Christmas - Yellowman
16. Santa Claus Never Comes To The Ghetto - Yellowman
17. Yellow Christmas - Yellowman
18. This Christmas - Yellowman
19. Yellowman Rock (Jingle Bell Rock) - Yellowman
20. ‘Tis The Season (Deck The Halls) - Yellowman
21. We Wish You A Merry Christmas - Yellowman
22. The Twelve Days Of Christmas - Yellowman

The perfect alternative Christmas soundtrack continues onward with the JOHN HOLT ’THE REGGAE CHRISTMAS HITS ALBUM,’ an eleven track musical gift from the late artists who first found fame as a member of The Paragons, that opens on the soulful I Believe In Father Christmas, a beautiful rendition of Wham’s iconic Last Christmas, the warmly welcome Lonely This Christmas, and an inviting White Christmas, before we are brought forth the rather lovely of John and Yoko’s Happy X-Mas (War Is Over), a remarkable cover of Chris DeBurgh’s beloved A Spaceman Came Travelling, the velvety When A Child Is Born, a slower than usual version of Santa Claus Is Comin’ To Town, the enveloping My Oh My, and then both a silky Blue Christmas and the dutiful Auld Lang Syne.

Then come eleven tracks from YELLOWMAN ’A VERY VERY YELLOW CHRISTMAS,’ the man born as Winston Foster OD, and which begins with his fun remake of Yellowman Is Coming To Town, the reggae-pop-bounce of Jamaica Jamaica, We Ain’t Got No Snow, the piano ballad, at first, rhythmical beauty thereafter Children Saw Mommy Kissing Yellowman and the homely African Christmas, and they are in turn backed seamlessly by the melodious tale telling within Santa Claus Never Comes To The Ghetto, the gentle hipsway of Yellow Christmas, a rather lovely This Christmas, the music coming to a close on a notably slowed down Yellowman Rock (Jingle Bell Rock), a harmonized ‘Tis The Season (Deck The Halls), the finger-tapper We Wish You A Merry Christmas and then the warmly embracing The Twelve Days Of Christmas.

So, for all those tired of hearing the same old records and seeking to spice up their holiday with some irresistible Caribbean sounds, this 2CD set, jam-packed with festive favorites performed by some of Jamaica’s finest is a must. 100% guaranteed to have you and all the family skanking around the Christmas tree!

www.finalgravitytheband.com

Title - Stormchaser [EP]
Artist - Final Gravity

For those unaware, throughout the course of their musical union, the members of Final Gravity have won over the hearts of music lovers from all walks of life.

Performing at a variety of venues and making countless public appearances all the while recording new song versions, this talented Progressive Rock Band has earned the admiration and affection of critics and fans alike.

Founding members John Chominsky (drums), Mike Clark (guitar), Bill Moore (vocals), and Charles Mumford (bass) released Final Gravity’s eponymous debut album in 2009. Exit Bill, enter Aussie vocalist Melissa Jane Dichiera, who joined in 2010. The band’s new EP Stormchaser is out now.

The band is melodic hard rock with progressive undertones and excellent female lead vocals. The album was produced by produced by Rich Mouser (Dream Theater, Weezer, Tears for Fears and more).

1. The Deep [4:24]
2. Far Away [6:09]
3. Automatic Pilot [4:40]
4. The Story of Forever [4:58]
5. Entre Nous [4:36]
6. Planet Earth [6:08]

This thoroughly entertaining, earnestly heartfelt new Rush-esque recording opens on the melodic rocker The Deep and then brings us the harder edged AOR of Far Away and then we get brought forth the languishing mid-tempo balladry of Automatic Pilot, the rhythmically free-flowing The Story of Forever, the EP rounding out on the forthright Entre Nous (actually written by Geddy Lee / Alex Lifeson / Neil Peart AKA Rush), unexpectedly closing on the veritably acoustic, low key, pop-lite ballad Planet Earth.

Official Instagram Page

Title - No Resemblance Whatsoever [30th Ann.]
Artist - Dan Fogelberg & Tim Weisberg

For those unaware, after being discovered by Irving Azoff, Illinois born singer-songwriter Dan Fogelberg moved to Nashville and began his recording career. His first four albums have achieved either platinum or double-platinum certification, including his fourth, Nether Lands—which included appearances by members of the Eagles, JD Souther, and flautist Tim Weisberg. Weisberg’s career began as a studio musician and he released his first solo album in 1971, even appearing on The Midnight Special.

In 1978, Fogelberg and Weisberg collaborated and released Twin Sons Of Different Mothers. The album featured the Top 25 hit “The Power Of Gold,” and sold over a million copies. The two would continue to write and record separately, with Fogelberg logging another two gold and two double-platinum releases, until the pair reunited in 1995 to record No Resemblance Whatsoever.

While the album’s title and artwork playfully referenced their previous release, No Resemblance Whatsoever displayed the musical growth both Fogelberg and Weisberg had achieved and brought back to their new effort. AllMusic said “Follow-ups to albums that were as successful and acclaimed as Fogelberg and Weisberg’s first collaboration often seem forced or simply don’t replicate the magic of the past. This one builds on the original project and explores new musical avenues while keeping fans hoping another recording by the two will occur in the future.”

1. County Clare
2. Forever Jung
3. Todos Santos
4. Sunlight
5. Isle Au Haut
6. The Face Of Love
7. Songbird
8. Is This Magic
9. Stasia
10. Windward

A lovely follow-up to the landmark Twin Sons of Different Mothers, this effective album No Resemblance Whatsoever sees both Fogelberg and Weisberg picking up right where they left off almost twenty years earlier, pushing the envelope of jazz, folk, and rock and clearly having a blast doing it.

That said, if the ground they tread feels familiar, they can be forgiven for falling into familiar grooves with such comfort and effortless musicianship.

I mean, simply put, if you are familiar with Twin Sons, this album will have a very similar pace for you to enjoy; almost to a fault. Somewhere between 1978 and 1994, the genre of smooth jazz bloomed and matured as a marketable category. Listening to these tracks, I myself can quickly realize just how much Twin Sons was a precursor to the development of smooth jazz.

In what lays out much like an alternate version of Twin Sons, albeit without the recognizable FM airplay hits, with Fogelberg now deceased and Weisberg having initiated a legal suit over the creation of this album, you will most likely never hear these tracks performed live anywhere. But that does not matter, as whatever the legal state of play with their regard, if you have a fondness for either of the principal artists, this time capsule will most definitely please your ears.

This 30th Anniversary reissue on CD, and on Vinyl for the first time, has wonderful instrumentals and lovely vocals, all of them beginning with Dan’s signature instrumental piece. If you haven’t heard this, please take a listen, it is a lovely jewel of an album. I especially love Songbird, an old Jesse Colin Young song that Dan redid. My oh my, his voice is beautiful, as usual.

The album title was a comedic reference to the pair who once looked somewhat like brothers (per the album title of their last collaboration), but now not so much with their clean-shaven faces and the passage of 17 years. This particular album, according to Fogelberg, only took 10 days to record.

www.timweisberg.com

Title - The Blur The Lines Project
Artist - Jae Sinnett

For those unaware, Jae Sinnett is a drumming phenomenon who has had a major impact on the jazz industry for the past 30 years. Drumming and composing are his passions. He also works as both a music educator and radio personality.

He’s also the producer and host of the jazz program Sinnett In Session as well as the R&B Chronicles. Both are heard on NPR affiliate WHRV-FM 89.5, based in Norfolk, Virginia.

Simply put, Jae is a musical visionary and a man of extraordinary talent. He is a consummate drummer, composer, music educator and radio personality. His videos and varied music presentations will inspire many.

The Virginia-based drummer, bandleader, radio broadcaster and educator now releases his 21st album, The Blur The Lines Project, a tour-de-force, jazz rock recording featuring the music of Rush, Rare Earth, The Edgar Winter Group, Steppenwolf, Deep Purple and Led Zeppelin!

1. Tom Sawyer
2. I Just Want To Celebrate
3. Frankenstein
4. Magic Carpet Ride
5. Hush
6. Immigrant Song

With this release bringing jazz and rock together to form an enduring musical union, Jae opens on an absolutely storming rendition of Rush’s phenom Tom Sawyer and then we get the dutifully funky, yet smoothly-veined Rare Earth cut I Just Want To Celebrate, a free-flowing, euphorically-charged rendition of The Edgar Winter Group’s Frankenstein, before we are brought forth a flourishingly sweeping rendition of Steppenwolf’s epic Magic Carpet Ride, the collection rounding out on the jazzy-blues-rock of Deep Purple’s Hush, closing on an adventurously resculpted version of Led Zeppelin’s sage cut Immigrant Song.

www.jaesinnett.com

Official Bandcamp Purchase Link

Official Instagram Page

Title - The Sound of Love
Artist - Tania Grubbs Quintet

For those unaware, vocalist Tania Grubbs crafts stories out of well-chosen songs with love and care and lets the listener feel the spirit behind each note.

Her voice is an integral instrument in a quintet of equals, a guiding thread that weaves everyone together whether singing a warm, engaging note, a challenging phrase, an especially stirring arrangement, a soulful turn, or hopeful sentiment.

The Sound of Love by the Tania Grubbs Quintet, their second offering after 2020’s Live at Maureen’s, is a carefully curated selection of songs including standards, lesser-heard jazz tunes, and some original material - all presented in a manner that sounds like a live performance. Contemporary Fusion Reviews said about Live at Maureen’s, “I can tell you right now, you haven’t heard jazz vocals this exciting in a long, LONG time.”

The stellar quintet seemingly reads each other’s intent in building sounds. This is songcraft at its finest - even more impressive is that the entire album was recorded in a day.

The band, who all have ties to Pittsburgh, includes pianist DAVID BUDWAY (Branford Marsalis, Michael Brecker, Hubert Laws), bassist JEFF GRUBBS (Pittsburgh Symphony Orchestra, Kenny Burrell, Joe Williams), guitarist RON AFFIF (Kenny Kirkland, Roy Hargrove, Jeff “Tain” Watts), and drummer JAMES JOHNSON III (Kenny Garrett, Benny Golson, Ahmad Jamal).

1. But Not For Me (3:24)
2. Slow Hot Wind (4:58)
3. (A Rhyme) This Time (4:33)
4. Duke Ellington’s Sound of Love (5:56)
5. Strange Meadowlark (4:51)
6. The Sculptor’s Hands (3:58)
7. Something To Live For (3:26)
8. Blackbird (3:40)
9. Sunshine on My Shoulders (5:24)
10. I Can Tell You Are Always There (6:12)
11. Four (3:51)
12. Dreamsville (3:58)
13. If You Could See Me Now (4:57)
14. Two For The Road (4:07)

Led by Tania’s silky voice, she opens the album on the playfully flirtatious, at first vocal/drum duet, latterly scintillating piano rendition of Chet Baker’s But Not For Me and an all-embracing version of Henry Mancini’s Slow Hot Wind and then we get brought forth one of my own personal favorites here, the catchy and dulcetly arranged Al Jarreau track (A Rhyme) This Time, a simply heavenly Duke Ellington’s Sound of Love (“I think “Duke Ellington’s Sound of Love” is just one of the most beautiful melodies ever written by Charles Mingus, or any composer, for that matter,” Tania admits), before the spirited duet for voice and bass track Strange Meadowlark (Dave Brubeck), her impassioned original The Sculptor’s Hands (which was itself inspired by Internationally acclaimed Pittsburgh-based wood sculptor/jazz lover Thaddeus Mosley), with the emotive Billy Strayhorn classic Something To Live For along next.

Up next is Tania’s flourishing version of the Lennon/McCartney classic Blackbird and the lavishly pleasing John Denver cut Sunshine on My Shoulders and they are in turn followed seamlessly by the sumptuous I Can Tell You Are Always There (Budway and Pittsburgher Lou Tracy), a scatting take on Mile Davis’ 1954 jazz standard Four, the low slung, gentle foot-tapper Dreamsville (Henry Mancini), the collection rounding out on the sheer elegance within the 1946 jazz standard, composed by Tadd Dameron, and which was written especially for vocalist Sarah Vaughan, If You Could See Me Now, coming to a close on the Henry Mancini song Two For The Road, here resculpted as a delicate duet with Tania and Budway.

THE SOUND OF LOVE is available today, October 4th, 2024, and is now available at Bandcamp and on all streaming platforms. Physical CDs are available at www.TaniaGrubbs.com.

Tania Grubbs Quintet @ Facebook

Title - Yama Kawa Umi
Artist - Natsuki Tamura / Satoko Fujii / Ramon Lopez

For those unaware, sometimes a trio works so well together the first time they met that they just have to play together again. That’s the way pianist Satoko Fujii, trumpeter Natsuki Tamura, and drummer Ramon Lopez felt after their first tour and debut album, Mantle (Not Two Records, 2020).

So, when the opportunity presented itself to meet again in 2023 to record a second album, the three joined forces for Yama Kawa Umi (again on Not Two Records, December 6th 2024). We wanted to see if we could deepen our trio music, Fujii said. And indeed they did. The new album displays both subtlety and power and a formal inventiveness that takes the music in bold and exciting new directions.

1. Headwaters (4:47)
2. Signpost (6:00)
3. Sparkling Water (6:29)
4. One Day Later (6:49)
5. Cold Water (3:51)
6. Yama Kawa Umi (6:44)
7. Dusk Sky (7:16)
8. Bolognaise (7:01)
9. Malakoff (2:57)

Working together for the first time as a trio five years ago, they had challenged themselves on a tour during which every day they each wrote a new composition that explored the potential of the group, and that shines through brightly here, opening on the at first screeching, then ornately ethereal, then melodious Headwaters and then we get brought forth the, at first, diligently sculpted, latterly furtive, a little playful Signpost, the veritably cinematic Sparkling Water and the all-embracing One Day Later.

Along next is the drum-led, latterly trumpet-fed, imprudently rousing Cold Water which is in turn followed by the lounging ebbs and flows that thread throughout the titular Yama Kawa Umi, the rather sleekly decadent Dusk Sky, the new set rounding out on the flirtatiously skittish Bolognaise, closing on the free flowing machinations within the cultured Malakoff.

www.SatokoFujii.com

Official Twitter Page

Title - Riofonic
Artist - Mafalda Minnozzi

For those unaware, vocalist Mafalda Minnozzi is releasing her fourth jazz album for the USA market produced by New York guitarist, arranger and musical director Paul Ricci. Recorded in Rio de Janeiro, the album features her beautiful tone, gentle swing and superb facility for singing in multiple languages.

Minnozzi is a touring artist with three home bases. She performs regularly in New York City, where she can be found singing in top clubs. She returns regularly to her native Italy, where she performs in some pf the country’s leading jazz festivals.

And she is a long-time resident of Brazil, where she has a long career, recording over 20 albums and collaborating with the likes of Milton Nascimento, Joao Locke, Dave Liebman, Michael Wolff, Will Calhoun and John Patitucci.

Riofonic is Minnozzi’s homage to the music, the band, and the people of Rio for all that they have given her over the years. Her elegant vocals, heartfelt interpretations, and sophisticated interplay with the top-notch band make this brand new album one of the finest to come out of Brazil in the 21st Century.

1. Rio
2. Corcovado
3. Só Danço Samba
4. Café South American Style
5. Ea E U Brisa
6. O Barquinho
7. Telefone
8. Tu Si ’Na Cosa Grande
9. Você (You)
10. Postcard From Rio
11. The Gentle Rain
12. Garota De Ipanema
13. Se É Tarde Me Perdoa
14. Água De Beber

This sophisticated, charmingly ambient new recording opens on the sumptuously spirited Rio and the low slung beauty of Corcovado and then we get brought forth the heart-warming Só Danço Samba, some dutifully enriched rhythms within Café South American Style, and then we get the languishing Ea E U Brisa, the foot tapping hipsway of O Barquinho and the gently frenetic Telefone.

Along next is the sheer elegance of Tu Si ’Na Cosa Grande and the melodious Você (You) and they are in turn backed seamlessly by the dance floor swirls and twirls of Postcard From Rio, the yearnful The Gentle Rain, a lovingly impassioned Garota De Ipanema, the set rounding out on the robustly charming Se É Tarde Me Perdoa, closing on the bossa nova jazz standard of Jobim’s Água De Beber.

Official Brent Laidler Hidden Gems Promo Video

Official Instagram

Title - Hidden Gems
Artist - Brent Laidler (feat. Mark Buselli & Ned Boyd)

For those unaware, Brent Laidler attended Western Michigan University, majoring in Music Education with a minor in Composition. He also attended Red Wing Technical Institute for Band Instrument Repair, owns and operates Brent’s Bench, Inc. Band Instrument Repair Shop in Lafayette and has developed an extensive professional and collegiate faculty clientele during more than three decades of dedicated service to the industry.

His endorsements include Purdue Bands, Jacobs School of Music, DePauw, Butler, Ball State Universities and the Indianapolis Symphony as well as three different DCI Corps and the International Trumpet Guild.

Although Laidler has not done much touring, he keeps very busy locally as a jazz guitarist as well as a film/commercial composer, arranger, clinician, radio host, and successful small business owner. He has performed in jazz clubs. theaters, at private events, jazz festivals and high school and college musicals requiring multiple string instruments and facility in many different musical styles. Over the years he has also performed with the Lafayette Symphony in music ranging from Broadway show tunes to a Guns-n-Roses medley.

Hidden Gems is Laidler’s third project as a leader and follows No Matter Where Noir (2017) and Wouldn’t Be Here Without You (2022). Once again Laidler is accompanied by Mark Buselli on trumpet, Ned Boyd on saxophone and flute, Jamie Newman on organ, Scott Pazara on bass, and Richard “Sleepy” on drums.

They are all top Midwest-based musicians who appeared on Laidler’s previous releases and he himself calls them his dream team.

Laidler conceived the project during the Covid lockdown when he had a lot of free time. He has three dozen old, printed fake books, many more in PDF form, and at least 14,000 tunes on his phone. He spent his time sightreading fake books and listening to his large collection of recorded music. He soon discovered all the hidden gems that would appear on this record.

For Laider, making music has always been about making joyful noise and the joy that Laidler expresses via his music runs through every composition on Hidden Gems.

1. Haba Verde [5:58]
2. #5 Shomeda Way [5:05]
3. Gemani (Gem-a-nee) [5:16]
4. Ballad for B [6:21]
5. Riffy Business [7:35]
6. Somewhere in Central Park [4:49]
7. Evening Song [6:53]
8. Bop Like [6:17]
9. Petite Parasol [5:06]
10. Without a Tres [6:24]

With this latest project chock full of beautifully crafted harmonic progressions, pieces inspired by others, reimagined, rearranged, and even sometimes fused with others, this dutifully affluent new recording opens on the swimmingly impassioned Haba Verde and the vibrant #5 Shomeda Way, and then we get the robust Gemani (Gem-a-nee), the languishing Ballad for B, before the spirited, and brilliantly entitled Riffy Business is brought forth.

Up next is the finger-snapping foot-tapper Somewhere in Central Park which is itself followed seamlessly by the dutifully soulful, languishing Evening Song, and then we get the upbeat and playful Bop Like, the new set rounding out on the robustly-sculpted Petite Parasol, coming to a close on a sheer dulcet elegance that drives Without a Tres.

The compositions on Hidden Gems are not contrafacts. Rather they are adaptations with new melodies and chord reharmonizations based on the original forms. Laidler chose tunes that he felt were fun to improvise to, and his creations are significantly different from the originals. He cleverly named his versions in ways that harken back to the original inspirations.

Bruce Woolley & The Camera Club: The Definitive Anthology 1978-1981 3CD [Trailer]

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Title - The Definitive Anthology 1977-1981 [3CD]
Artist - Bruce Woolley & The Camera Club

For those wondering, Bruce Woolley & The Camera Club were founded in 1979 with Bruce Woolley on vocals, Dave Birch on guitar, Thomas Dolby on keyboards, Matthew Seligman on bass and Rod Johnson on drums.

They released their debut album ‘English Garden’ in 1979 and supported its release by touring in England, USA and Canada. Unfortunately, they disbanded after two years largely spent on the road following on from CBS Records’ refusal to release their second album.

This a comprehensive 69-track 3CD anthology covering the recordings of Bruce Woolley & The Camera Club between 1977-1981 and it includes 41 previously unreleased tracks taken from their unreleased second album plus two live concerts.

It fetaures an expanded version of the ‘English Garden’ album including the original versions of the Ivor Novello Award-nominated ‘Video Killed The Radio Star’ and ‘Clean Clean’, both of which Bruce co-wrote with Trevor Horn and Geoff Downes and went on to become hit singles for The Buggles.

Disc One: English Garden - Expanded Version (1979)
1. English Garden 2. Video Killed The Radio Star 3. Dancing With The Sporting Boys 4. Johnny 5. No Surrender 6. Flying Man 7. You Got Class 8. WW9 9. Clean Clean 10. Get Away William 11. Goodbye To Yesterday 12. Goodbye To Yesterday (Reprise) 13. You’re The Circus (I’m The Clown) 14. News (Eden Studios)* 15. The Killers - No Surrender 16. The Killers - Killer On The Dancefloor 17. Clean Clean (US Version) 18. Video Killed the Radio Star (US Version) 19. Goodbye to Yesterday (US Version) 20. Bruce Woolley - Bobby Bad 21. Bruce Woolley - You’re The Circus (I’m The Clown) (B-side) 22. Bruce Woolley - You Got Class (Soundsuite Studios)* 23. Bruce Woolley - Going To The City* 24. Bruce Woolley - Needletime* 25. Bruce Woolley - Sugar Daddy (8 Track Demo)* * Previous Unreleased

By now, we all know that the very first video played on MTV was “Video Killed the Radio Star” by The Buggles, but the real trivia question should be: “Who recorded it first? Because, yes, you heard that right, the song is actually a cover tune, originally recorded by Bruce Woolley & The Camera Club for their album English Garden.

The would-be Buggles, Trevor Horn and Geoff Downes, wrote the song for Bruce’s band, and while they had some success, Horn and Downes decided to make it their first single. The rest is history ... and therein consigned to the hallowed halls of music trivia.

There wasn’t bad blood, though. Bruce Woolley was close with The Buggles, though never an official member. He even appears in The Buggles video for “Video Killed the Radio Star”, a friendly shout-out to the guy who tried to make a hit of it first, and joined them for a couple of The Buggles occasional one-off performances.

The success of the cover version left The Camera Club’s lone album, English Garden to the dustbin of musical history. Thankfully, history has preserved video of the band performing on the Old Grey Whistle Test, and on BBC Midlands, amongst others.

But I digress, as the album itself is a delightfully strange record, straddling a line between glam rock, and new wave, with a slight dose of progressive rock sensibilities in their arrangements. At times, Bruce’s voice tries to emulate the range of Sparks’s Russel Mael, especially on the title track. It lacks the Sparks sense of humor, though, and it lacks the inventiveness of Trevor Horn’s production and arrangements that makes The Age of Plastic hold up.

Consider the two versions of “Video Killed the Radio Star”. Camera Club’s version is a straight ahead rock song with a constant tempo. It lacks the emotion of Horn’s rendition. However, I’ll freely admit that Woolley is a far better vocalist. The other Buggles song on English Garden, “Clean/Clean” fares similarly in comparison with its counterpart. There’s just a lot more to sink your teeth on in the Buggles version.

Perhaps it’s me. I came to this album after developing a familiarity with the Buggles Age of Plastic, and it might be clouding my judgment upon hearing these earlier interpretations of the songs.

So should you, perhaps, track this album down on vinyl? That depends. It’s certainly not a bad album, but really it’s more of a curiosity. If you’re one of those obsessive Thomas Dolby fans, or an obsessive Buggles fan, or just have to complete your collection of slightly obscure new wave records from England, then you could do far worse.

Disc Two: Polaroid – Snapshots Of Sound (1981)
1. I Set Fire To You* 2. Bruce Woolley - Ghost Train 3. Killer On The Dancefloor (Olympic Studios)* 4. Trouble Is 5. Only Babies Can Fly 6. All Real Americans* 7. Morning Shadows* 8. Ghost Train (Olympic Studios)* 9. All At Once 10. Warning Shadows* 11. Bruce Woolley - Blue Blue Victoria 12. Bruce Woolley - 1000 MPH 13. Bruce Woolley - The Black Girls Understand* 14. Bruce Woolley - Ghost Train (Club Mix) 15. How Do You Say Goodbye?* 16. Too Late For Tears (Demo Version)* 17. Bruce Woolley - Blue Blue Victoria (Demo Version)* 18. Bruce Woolley - You Got Class (Revox Demo)* 19. News (Olympic Studios)* 20. House Of Wax 21. Radio Pictures (Bye Bye Love)* * Previous Unreleased

As noted above, they released their debut album ‘English Garden’ in 1979 and supported its release by touring in England, USA and Canada. Unfortunately, they disbanded after two years largely spent on the road following on from CBS Records’ refusal to release this second album, titled Polaroid – Snapshots Of Sound.

What follows are 21 tracks, including the entire 13 track original recording along with a bunch of previously unreleased demo tracks and such taken from their studio sessions at that time.

Sounding as crisp and as alive as they ever were, mostly due to having been rescued from the original 24-track, 2” analogue tapes, tracks such as the brilliant Dolby-written Ghost Train, the vibrant Killer On The Dancefloor, and both the versatile arrangement of Only Babies Can Fly and the single perfect House Of Wax, showcase just how great this album could have been.

Others from the demo side of things that stand out include the impassioned Blue Blue (Victoria), yet another Mike Howlett production, the bittersweet Radio Pictures (Bye Bye Love), and one of my own person favorites the inventive synth pop sounds that drive You Got Class (Revox Demo).

Disc Three: In Concert - Live at High Wycombe Town Hall 6th May 1979
1. You’re The Circus (I’m The Clown) 2. You Got Class 3. Too Late For Tears 4. Clean Clean 5. The Problem 6. Goodbye To Yesterday 7. Johnny 8. Video Killed The Radio Star 9. No Surrender 10. Dancing With The Sporting Boys 11. News 12. Flying Man [All tracks previously unreleased].

Live at My Father’s Place, Long Island, USA 25th March 1980
13. You’re The Circus (I’m The Clown) 14. News 15. You Got Class 16. Trouble Is 17. Johnny 18. Get Away William 19. Dancing With The Sporting Boys 20. I Set Fire To You 21. No Surrender 22. English Garden 23. Video Killed The Radio Star [All tracks previously unreleased].

The third and final disc is two live sets recorded nearly back to back in both 1979 and 1980. As we are informed with liner notes, the first 1979 set was provided by Steve Warren, who was XTC’s sound engineer at the time. Amazingly, it was originally recorded onto cassette, this straight from the mixing desk sound is incredible to listen to. Also, if you were not aware, this line-up also includes Richard Wernham on drums (aka Ricky Slaughter from The Motors).

Differently, the following 1980 set was broadcast on WLIR FM, from My Father’s Place in Roslyn, New York and is therefore a much more polished audio affair, with the band themselves tighter from having toured non-stop before it.

This 3CD set is packaged in a deluxe clamshell box with a fully illustrated 28-page booklet containing rare and previously unseen images and a brand new annotation featuring quotes from band members Bruce Woolley, Dave Birch and Thomas Dolby.

Title - Joe Elefante’s Wheel of Dharma
Artist - Joe Elefante

For those unaware, Joe Elefante is a pianist, saxophonist, vocalist, composer, arranger, and bandleader.

Joe has traveled 4 continents playing and conducting jazz and musical theater. Joe founded the Joe Elefante Big Band in 2001, which was the house band at Cecil’s Jazz Club for three years, and was featured on ABC’s Nightline and in the Wall Street Journal. He was named a Jazz Ambassador by the Kennedy Center, and has toured Eastern Europe and the Middle East as a jazz pianist for the U.S. State Department.

He has also been selected to the prestigious BMI Jazz Composers Workshop in NYC and the Betty Carter: Jazz Ahead program at the Kennedy Center.

After majoring in jazz saxophone and piano at New Jersey City University, Joe performed and recorded music full time for the next fifteen years before settling down to raise a family. He worked as a school teacher and part-time musician for the next decade, losing touch with his jazz roots as the years passed and responsibilities piled up.

After the tragic death of his wife of 16 years to cancer in 2024, Joe realized that life is too precious and fragile to not follow his true north: writing and performing vital, original jazz music with the best artists on the scene. This realization, in conjunction with his passion for Buddhist teachings - or dharma - are the fuel that ignites his artistry.

Joe’s latest project is Joe Elefante’s Wheel of Dharma, a jazz quintet featuring Freddie Hendrix on trumpet, Erena Terakubo on saxophone, Sameer Shankar on bass, and David Heilman on drums. WOD performs all original material, but with a reverent eye on the past, present, and future of the music.

1. Bad Dancing
2. Rocky
3. The One Who Knows
4. The Earth is On Fire
5. Samadhi
6. Lion’s Eyes

This vibrantly fervent, all-embracing and joyfully hued new recording opens on the spirited flourishes that drive Bad Dancing and then we get the languishing beauty of Rocky, the elegantly divine The One Who Knows, and they are in turn backed by the simply sumptuous The Earth is On Fire, the album rounding out on the sterner, more profoundly sculpted Samadhi, coming to an all too soon close on the delightfully melodic Lion’s Eyes.

Official Apple Music Purchase Link

Title - Safe Travels
Artist - Jerry Kalaf

For those unaware, Jerry Kalaf, a Colburn Community School of Performing Arts faculty member, has been active in the jazz community for many years. His credits include performances and tours with Eddie Harris, Gary Burton, Gary Foster, Frank Strazzeri, Bill Mays, Bill Perkins, Jimmy Cleveland, The Pointer Sisters, Gregory Hines, and Major Holley.

Jerry has toured Europe, Asia, Russia, South America, Africa, and the United States as musical director of the Jazz Tap Ensemble with performances at the Playboy Jazz Festival in Los Angeles, Salzburg Jazz Festival in Salzburg, Austria and in New York, at Carnegie Hall, and the Apollo Theater.

Active in the recording studios of Los Angeles, Jerry has participated as both a performer and composer in scoring sessions for hundreds of film and television shows.

Recorded at Studio J in Studio City, CA by Kalaf, and at RAX TRAX in Chicago, IL, by Andy Shoemaker, Safe Travels is his latest album, a collaboration with arranger Doug Walter. The compelling collection of original compositions brings together the distinctive voices of a piano trio and the lush textures of a string quartet.

The album features the Chicago-based string quartet ATYLS, seamlessly blending classical influences with Kalaf’s jazz sensibilities. The result is an evocative and emotional journey, where the improvisational nature of jazz meets the expressive power of the string quartet.

1. 263 Beacon
2. Another Summer
3. At The End of The Day
4. Bailing
5. Epilogue
6. Perspectives
7. Safe Travels
8. Shearing

Striking a balance between complexity and accessibility, delivering music that challenges musicians while deeply resonating with listeners, the new recording opens on the sweeping elegance of 263 Beacon and then we get the ornately sculpted Another Summer, some gentle dance floor swirls and twirls sewn within At The End of The Day, with the graceful Bailing along next.

Then we get brought forth an aching yearn that drives Epilogue, which is in turn followed by the dutifully melodious Perspectives, this delightful new album rounding out on the all-embracing rhythmic stillness of the titular Safe Travels, coming to a close on the quietly flirtatious Shearing.

Musicians:
Tom Ranier, piano
Trey Henry, bass
Jerry Kalaf, drums
And featuring ATLYS
Sabrina Tabby and Jinty McTavish, violins
Erin Rafferty, viola
Genevieve Tabby, cello

Sharrie Sharrie from Rick Roe’s Tribute Album [Official Video]

Title - Tribute: The Music of Gregg Hill
Artist - Rick Roe

For those unaware, Rick Roe won first place in the Great American Jazz Piano Competition in 1994, was twice a semifinalist in Thelonius Monk International Jazz Piano Competition, in 1993 and 1999, and has been a featured performer in the Jacksonville Jazz, Savannah Onstage International Arts, Montreaux/Detroit Jazz, Birmingham Jazz, Lansing Jazz, Flint Jazz, and Hawaii Jazz Festivals.

Roe has served as an educator/clinician at the University of Arizona, North Texas University, Michigan State University, the University of Nevada, Las Vegas, the University of Michigan, and the Montreaux/Detroit Jazz Festival.

So, as you can already tell, Roe is a very distinguished jazz pianist, composer and educator with over a dozen recordings to his name. His debut album, Monk’s Modern Music, is highly regarded in jazz circles. Robert Hurst, a Detroit native, is a celebrated bassist and composer with a career spanning over 30 years. A seven-time Grammy-award winner, Hurst has collaborated with icons such as Sir Paul McCartney, Wynton Marsalis and Diana Krall and is currently an Associate Professor of Music at the University of Michigan and has contributed to over 250 recordings and numerous film scores.

Nate Winn discovered his passion for drums at the age of four. Born and raised in Detroit, his versatile playing style is influenced by jazz, blues, R&B and gospel. Winn holds degrees from Wayne State University and Berklee College of Music and has performed with artists like Pat Metheny, Terence Blanchard and Kurt Whalum. He is also a professor of Jazz Drums as the University if Michigan.

Rick Roe’s latest release, Tribute: The Music of Gregg Hill, is a heartfelt homage to Lansing-based composer Gregg Hill, brought to life with a stellar trio featuring the aforementioned Hurst on bass and Winn on drums.

1. Elden’s Bop [3:17]
2. Ducks Night Out [5:49]
3. Mr. Pea [2:50]
4. Julie’s Tune [7:03]
5. Sunday Special [4:49]
6. Tribute [4:01]
7. Floating Candles [5:02]
8. Ballade [5:59]
9. Sharrie Sharrie [3:35]
10. Soul Element [4:26]
11. Summer Nights [4:11]
12. The Singer [3:34]

On an album that weaves together a series of twelve compelling tracks that explore the full spectrum of jazz expression, from lyrical ballads to dynamic, rhythm-driven pieces, the new recording opens on the melodious lilting waltz Elden’s Bop and the low slung balladry of Ducks Night Out, and then we get the joyfully spirited Mr. Pea, the languishing beauty of Julie’s Tune, the dutifully-sculpted Sunday Special, and then the ravishingly opulent title track Tribute is gifted to us.

Along next is the harmoniously layered Floating Candles and the luxuriantly-grooved Ballade, and they are in turn followed seamlessly by an engaging jaunt that drives Sharrie Sharrie, the elegant sophistication of Soul Element, the album rounding out on the simply beautiful Summer Nights, coming to a close on the impassioned upbeat swing of The Singer.

Musicians:
Robert Hurst - bass
Rick Roe - piano
Nate Winn - drums

Slinky Vagabond - ‘Strange World’ [Official Lyrics Video]

Title - The Eternal Return
Artist - Slinky Vagabond

For those unaware, structured like hip hop bands that construct songs on features, early tracks featured a veritable slew of collaborations including the late, great aforementioned Pete Shelley who sang backing vocals on the David Bowie cover “Boys Keep Swinging.”

A fixture on the NYC club scene, Slinky Vagabond was a celebrated guest on celebrations as Joey Ramone’s Birthday Bash (2007) alongside the New York Dolls, Fashion Week’s Gen Art and Rock and Roll Fantasy Camp (2008) and Marc Bolan’s 30th Anniversary Show (2007) alongside Patti Smith, Tom Morello, Joan Jett, Ronnie Spector, and more.

Slinky Vagabond now return with a second album The Eternal Return out January 2025.

Following up the 2021 release of ‘King Boy Vandals’, Keanan Duffty and Fabio Fabbri have once again blended their love of punk and rock alongside a whole host of collaborations with some of the most respected players in their respective fields whilst simultaneously allowing themselves the space to be musically creative.

The idea of developing the band beyond just live performances came when Duffty met Fabio Fabbri at a lecture he was hosting alongside Glen Matlock in 2017. Fabbri – a guitarist, producer and songwriter – and Duffty started sharing ideas and a co-writing partnership was born.

But Slinky Vagabond’s wouldn’t be the Slinky Vagabond’s without a few guest names and they came in the shape of Midge Ure (Ultravox/Visage/Live Aid co-founder), Dave Formula (Magazine/Visage), Richard Fortus (Guns N’ Roses/Psychedelic Furs), David Torn (David Bowie/David Sylvian), Tony Bowers (Durutti Column/Simply Red) and Martin Turner (Wishbone Ash) and the results ended up becoming their debut album ‘King Boy Vandals’.

1. Lady Bump Discoteque
2. Ad Astra
3. Icarus Falls
4. Rollercoaster Ride
5. If Looks Could Kill
6. Strange World
7. Anthem
8. Earthman Go Home!
9. I Can Fly
10. Perfect World
11. End Of The Show

On an album that continues the bands story and ethos perfectly seamlessly onward from their last album, this new recording opens on the Sgt. Peppers era, Beatles-esque duo of Lady Bump Discoteque and Ad Astra (a nod towards Philip K. Dick), the hard hitting Icarus Falls, the Oasis-hued, Brit pop-hued Rollercoaster Ride, before the melodious AOR of If Looks Could Kill is brought forth.

Along next is the low slung, psych-rocker, and lead single Strange World (influenced by a vintage copy of a Frank Edwards book) and the languishing ballad Anthem (written following a 5-day visit to Kyiv in 2021) with both being seamlessly followed by the rhythmical brilliance of Earthman Go Home! (the title taken from the Harlan Ellison novel), the Blur-imbibed I Can Fly, the album rounding out on the fuzzy alt-rock of the co-written (with Glen Matlock) Perfect World, coming to a close on the impassioned mid-tempo psych-rock of the co-written (with Earl Slick) End Of The Show.

These tracks have attracted collaboration with a plethora of incredible musicians who have played and continue to play with some of the world’s most admired musicians such as Glen Matlock, Earl Slick, Ava Cherry, Mike Garson, Dom Beken, Percy Jones.

Didn’t You Know (You’d Have To Cry Sometime) (Music Video)

Title - Motown Sound Collection [Brand New Reissues]
Artist - Various

Elemental released a total of 22 titles through 2024, including music by such storied Motown stars as Smokey Robinson (and the Miracles), The Four Tops, Marvin Gaye (both solo and with duet partner Mary Wells), The Jackson 5, Eddie Kendricks, Gladys Knight & the Pips, and The Undisputed Truth, and now their release schedule continues onward here in early January.

The collection continues on January 17th, 2025 with three more classics in the form of Gladys Knight & The Pips’ Nitty Gritty (140 Gram Limited Edition), Smokey Robinson’s Pure Smokey (140 Gram Limited Edition Vinyl Gatefold Sleeve), and finally Diana Ross & The Supremes’ Reflections (140 Gram Limited Edition Vinyl).

Called “a sturdy collection of fine soul and R&B tracks” by All Music Guide, Nitty Gritty was the sixth studio album by Gladys Knight & the Pips which was released in 1969. Thanks to the influence of producer Norman Whitfield, it placed emphasis on the raw funk and soul sounds of the band, resulting in an unforgettable set.

Three of the singles included became hits: Didn’t You Know (You’d Have to Cry Sometime) (#63 on the Pop chart and #11 on the R&B chart), The Nitty Gritty (#19 Pop/#2 R&B), and Friendship Train (#17 pop/#2 R&B). The album peaked at #81 on the U.S. Billboard 200.

Dusty Groove called Nitty Gritty “one of our favorite albums by Gladys Knight – a set that seems to have a lot more edge than some of her later work, thanks to some rumbling production from the legendary Norman Whitfield!”

This 140-gram edition of Nitty Gritty includes the original cover and back cover artwork.

SIDE A:
1. Cloud Nine
2. Runnin’ Out
3. Didn’t You Know (You’d Have to Cry Sometime)
4. (I Know) I’m Losing You
5. The Nitty Gritty
6. Ain’t No Sun Since You’ve Been Gone

SIDE B:
7. All I Could Do Was Cry
8. Keep an Eye
9. Got Myself a Good Man
10. It’s Summer
11. The Stranger
12. I Want Him to Say It Again

Released in 1969, Nitty Gritty was the sixth album by Gladys Knight & the Pips. Thanks to the influence of producer Norman Whitfield, it places emphasis on the raw funk and soul sounds of the band resulting in an unforgettable set.

Three of the singles included became hits: Didn’t You Know (You’d Have to Cry Sometime) (#63 Pop, #11 R&B), Nitty Gritty (#19 Pop, #2 R&B), and Friendship Train (#17 Pop, #2 R&B). Now available on 140g virgin vinyl.

Personally, I rate Gladys Knight second only to Aretha Franklin as the worlds best female soul singer. Her hoarse gritty contralto is also easier for a man to emulate in a karaoke (not that I would ever do anything like that!). Don’t underestimate the Pips though for their harmonies were grand, and their moves were legendary.

For all that they were overlooked at Motown, they did keep the group on the US pop top 40 for seven consecutive years, which no other record label was able to do. Their spurt of wild success on Buddah, following Motown, was all too short lived in the US. That success came later and was a bit more sustained here.

This fourth album for Motown, ‘Nitty Gritty’ was notably more funky and up-tempo, for the most part. The title track being a lively funked up version of Shirley Ellis’ minor hit with my own favorite cut on this album (and of all their Motown recordings, in truth), being ‘Didn’t You Know (You’d Have To Cry Sometime)‘ a spirited revenge song from Ashford/Simpson. I mean, listen to it yourselves and tell me Gladys doesn’t strive (and succeed) in wringing every drop of emotion out of each line.

Also, “If I Were Your Woman” is a gorgeously stirring ballad written by the prolific composer Pam Sawyer and writer-artist Gloria Jones, best known for her original version (and Northern Soul hymn) of “Tainted Love” (and, later, for being Marc Bolan’s partner).

As noted above, this reissue is coming out as a 140 Gram Limited Gatefold Edition Vinyl.

Released in 1968, Reflections was the 12th album from the Supremes, their first billed as Diana Ross & the Supremes. It was also the first album to include liner notes by Diana Ross and their first with new member Cindy Birdsong.

It was the Supremes’ last album with new productions from the creative team of Holland-Dozier-Holland, and included productions from Deke Richards, Frank Wilson and Smokey Robinson.

The title song was a No. 2 pop smash while the album peaked at #3 on Billboard’s Top 200. This 140-gram edition includes the original cover and back cover artwork.

Diana Ross & The Supremes - Reflections (Music Video)

SIDE A:
1. Reflections
2. I’m Gonna Make It (I Will Wait for You)
3. Forever Came Today
4. I Can’t Make It Alone
5. In and Out of Love
6. Bah-Bah-Bah

SIDE B:
7. What the World Needs Now Is Love
8. Up, Up and Away
9. Love (Makes Me Do Foolish Things)
10. Then
11. Misery Makes Its Home in My Heart
12. Ode to Billie Joe

As aforementioned, this mighty fine album was the last Holland Dozier Holland produced Supremes album. Of further interest, this was the first album billed as Diana Ross and the Supremes. While the album is kind of a hodge podge of tracks, there are some real gems and the overall listening experience is lots of fun.

Reflections and Forever Came Today were the Supremes nod to psychedelia complete with some weird sound effects and such. Mary Wilson has said that neither she nor Cindy Birdsong (or Florence Ballard, for that matter) sang on Forever Came Today or several other recordings from this period though, which just adds to the mystery of these recordings.

Indeed, if you listen closely, you can actually notice different sounding voices on background vocals. All of that aside, among the gems here are I’m Gonna Make It, Bah-Bah-Bah (a haunting Brenda Holloway composition), Misery Makes Its Home In My Heart, the simply terrific What the World Needs Now Is Love, and a surprisingly not campy Diana solo on the closer Ode To Billie Joe.

Pure Smokey was William “Smokey” Robinson’s second solo album after leaving The Miracles. It was issued on Motown’s Tamla label in 1974 and presents mostly songs composed by Robinson along with Marv Tarplin, another ex-Miracle who joined Robinson in California after leaving the group.

Marv didn’t only assist Smokey, he wrote, played guitar, toured, etc. Hits from the album include, I Am I Am (#6 R&B), Virgin Man (#12 R&B), and It’s Her Turn to Live, a tribute to mothers co-written by Tarplin (#29 R&B). All Music Guide wrote Pure Smokey “creates a seamless blend of smoothed-out disco and gorgeous soft soul.”

This limited edition 140-gram virgin vinyl edition includes the original cover and back cover artwork.

Smokey Robinson - Virgin Man (Music Video)

SIDE A:
1. It’s Her Turn to Live
2. The Love Between Me and My Kids
3. Asleep on My Love
4. I Am I Am
5. Just Passing Through

SIDE B:
6. Virgin Man
7. She’s Only a Baby Herself
8. Fulfill Your Need
9. A Tattoo

Sometimes an album title is a total misnomer but NOT in this case. Pure Smokey is such a wonderful album (and Smokey has many, as we all well know) that George Harrison named a song after it on his Thirty Three & 1/3 album (which sounds great next to something like this).

On this recording Smokey reflects on his family and a mature side of romance with a variety of soulful textures, styles and tempos. It’s Her Turn To Live starts out with a rather unusual note for Smokey, a wah-wah driven funk excursion outside his usual ballad style but still brimming over with his great love poetry and class 9and which forever sheds anyone’s misconceptions of funk grooves as songless musicians exercises.

On the classic Virgin Man Smokey furthers the same approach, only on a deeper funk level and those two songs are just chillingly lovely and easily exhibiting the most sweetest funk this side of Marvin, Curtis, Isaac and Barry.

Along the way Smokey also offers up many tracks full of his classic mellow soul stylings, such as the surprisingly pointed and unsentimental The Love Between Me And My Kids, I Am I Am, A Tattoo and Just Passing Through, which is a true and unsung classic for that should’ve been a big hit group of Motown songs buried out there still.

Taken along with these there are plenty of slow ballads here too, such as the tender Asleep On My Love, Fulfill Your Need and She’s Only A Baby Herself, a song I think may actually be a reflection on Smokey’s extra marital affair around the same period (but that has not yet been confirmed, even now).

www.elemental-music.com

www.motownrecords.com

Title - Awareness Or Illusion
Artist - Motu

For those unaware, MOTU (Music Of The Universe) is Dr. Richard Michelson, the New York based recording artist, musician, composer, and performer who is best known for his unique Blues, Jazz, and Rock Guitar styles.

MOTU has also received high praise from well-known figures in the music industry for his work with charities down the years and now brings out his brand new album Awareness Or Illusion.

Complete with Dee Michelson singing harmonies alongside Dr. Rich on quite a few of the songs, this will be their 24th official album and contains eleven (11) new MOTU American Roots & Rock originals.

1. Just Shut Up, Stop Talking To Me
2. Something Has Changed
3. There’s Only Us
4. For Jeff
5. Too Much Bullshit to Normalize
6. You Always Got Something to Say
7. I Look to The East
8. Horizon
9. Awareness Or Illusion
10. Easier To Be Blind
11. A Company Man

This fantastic, true blues Americana roots rock and guitar-driven new recording opens on the Rolling Stones-esque Just Shut Up, Stop Talking To Me and then we get the grunge-hued appeal of Something Has Changed, the Country-Americana-Rocker There’s Only Us, with both the instrumental guitar fusion showcased within For Jeff and the Delta-style blues of Too Much Bullshit to Normalize along thereafter.

With Dr. Richard Michelson again playing an amazing amount of instruments on this album, such as keyboards, mandolin, harmonica, acoustic and electric guitars, bass, pedal steel guitar, and dobro, up next is the sarcastic rocker You Always Got Something to Say which is itself backed seamlessly by the dutifully reflective Americana of I Look to The East, the solo acoustic instrumental Horizon and the ethereally impassioned title track Awareness Or Illusion, the album rounding out on the harmonica/guitar driven beauty Easier To Be Blind, coming to a close on the Gov’t Mule styled A Company Man.

Title - Dormitive Virtue
Artist - Eldritch Priest

For those unaware, Dormitive Virtue is not the album that one likely would’ve expected from Eldritch Priest next. For the past 20-odd years, the Vancouver-based composer, writer, and academic has been building a reputation through mind-bending books about music such as Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (2013, Bloomsbury) and 2022’s Earworm and Event: Music, Daydreams and Other Imaginary Refrains (Duke University Press) and disorienting chamber and electroacoustic works whose sprawling melodies and elusive forms destabilize one’s sense of memory and time.

Dormitive Virtue doesn’t so much abandon these sensibilities as it does adapt them into the context of a concise, solo, and mostly improvised, guitar record. Where his compositions (much like his writing) employ carefully sculpted meandering to achieve their distinctive feel, on this album, Priest’s playing draws instinctively on this gestural vocabulary but also from elsewhere.

I began my training as a jazz guitarist, but very quickly moved away from trying to play idiomatically, he reveals, that is, I was very interested in improvisation, yet I never really wanted to play bebop or (as great as he was) sound like Jim Hall.

And indeed, while the imprint of his jazz background is audible, his sound is decidedly his own, with chromatic lines slinking across opaque, tapered chords, and through surrealistic applications of effects.

1. Grave Needs, Rainbow (4:48)
2. Supposition Engine (3:48)
3. A Problem with the Stars (4:10)
4. Outlaw (2:51)
5. Iris (6:00)
6. The Ghastly (3:13)
7. A Gilded Madman (2:54)
8. Dormitive Virtue (4:44)

Composed, performed and recorded by Eldritch Priest, mastered by Murat Colak, and recorded live at 8East, Vancouver, 26 April 2023, this sparkling new recording opens on the discordant guitar work that drives Grave Needs, Rainbow and then brings us the sublime Supposition Engine, the shuttering magnificence of A Problem with the Stars and then we get the veritably etheral Outlaw brought forth.

Along next is the transformative fluctuations within the Wayne Shorter-written Iris, which is in turn backed seamlessly by the strident guitar work The Ghastly, the album rounding out on the fluttering A Gilded Madman, coming to a close on the sheer elegance displayed within the titular Dormitive Virtue.

As a scholar, Priest writes from a pataphysical perspective and deals with topics such as sonic culture, experimental aesthetics and the philosophy of experience. Priest brings these interests to his job as an Associate Professor in the School for the Contemporary Arts at Simon Fraser University, interests that also inform his work as a member of the experimental theory group The Occulture.

Title - Transpositions
Artist - Spy Dénommé-Welch & Catherine Magowan

For those unaware, Transpositions is the first recorded outing to emerge from Unsettled Scores, a unique collective endeavor that, since 2006, has been generating and mobilizing solo, chamber, orchestral and opera compositions, as well as productions that straddle music, theater and other art forms.

Co-founded by Spy Dénommé-Welch, an Algonquin-Anishinaabe composer, storyteller and researcher and Catherine Magowan, a Jewish-Hungarian wind musician, composer, and conductor, the duo’s co-creations (a welcome detour from the more prevalent model in the contemporary composition world) have delved into difficult histories, and contemporary issues from both a Canadian and global perspective.

The pair’s unique work has helped them forge partnerships with numerous important artistic institutions across Canada including the Nota Bene Baroque Players, Native Earth Performing Arts, Teatre Passe-Muraille, Tarragon Theater, and The Toronto Consort.

While Transpositions presents an entirely instrumental work bearing the same name, it also arises from a conceptual source, like the pair’s other output. In this case, it’s the intersection between chronic illness and environmental health and in the words of Dénommé-Welch, who led the creative charge on this particular project, the music traces the delicate and symbiotic rapport between the land, human life and all other living beings.

Given the events of recent years, such subject matter has assumed great relevance, however as Dénommé-Welch reveals in the disc’s liner notes, his inspiration actually forecast the COVID-19 pandemic rather than arising from it. I could never have anticipated the timeliness of this work by suddenly having to navigate a way to record and produce an album about a health crisis during what became a sudden global pandemic, he remarks. As a result, the uncanny seems to heighten the immediacy and purpose of the piece itself.

1. Scan/Machine
2. Boiling Frog
3. Clear Cut/Lesions
4. Dead Zones: After the Fact
5. False Fugue: When All is Felled
6. Fault Lines: Waves of Panic
7. Aftershocks
8. Acclimation

This sonic exploration of the relationship between health and the environment dutifully opens on the studiously playful, yet stridently profound Scan/Machine and then we are brought forth the playfully impassioned Boiling Frog, the low slung, lonesome ode Clear Cut/Lesions and then we get my own personal favorite, the intricately melodious Dead Zones: After the Fact.

Conceived in a self-directed residency with Toronto’s Native Earth Performing Arts, along next is the sheer elegance of the preciseness found within False Fugue: When All is Felled, which is itself backed by the flourishingly fervent Fault Lines: Waves of Panic, the set rounding out on the yearningly cognizant Aftershocks, coming to a close on the heartfelt rhythmic nuances found driving the gently buoyant Acclimation.

Spy Dénommé-Welch, PhD., is a composer, sound designer, librettist/playwright, producer, and scholar. He wrote and co-composed the Dora-nominated opera Giiwedin (2010), and premiered his second opera, Canoe, in September 2023.

Catherine Magowan is a composer, sound designer, conductor, and wind musician. She is first-generation Canadian of Jewish-Hungarian ancestry. Catherine was nominated for a Dora Mavor Moore award for her first opera, Giiwedin (Native Earth Performing Arts/Unsettled Scores, 2010) which she and Dénommé-Welch co-composed, their second opera together premiered in the fall of 2023.

Musicians:
Alyssa Delbaere-Sawchuk, Viola
Justin McLean, Bass Trombone & Tuba
Christine Cheongyeong Bae, Piano
Susan Durnin, Coordinator
Catherine Magowan, Music Director

www.unsettledscores.com

Title - Horizontal Depths
Artist - Dan Pitt Quintet

For those unaware, Dan Pitt is a guitarist, composer and improviser currently based in Toronto, Canada.

Originally from Hamilton, Ontario, Dan started studying guitar at 10 years old. Throughout his teens, he played music both in school and with bands at venues downtown. Eventually, Dan went on to study jazz at Mohawk College learning from guitarist Bob Shields. Afterwards, Dan moved to Toronto and received his Bachelor’s Degree in Music Performance at the University of Toronto.

Dan performs regularly throughout Toronto in a variety of music genres and ensembles. He leads his own creative improv group, Dan Pitt Trio, which features bassist Alex Fournier and drummer Nick Fraser.

In 2021, Dan expanded his group and recorded a quintet album entitled “Wrongs”. This group included woodwind players Naomi McCarroll-Butler and Patrick Smith along with the members of Dan’s trio.

Together, these five musicians extend the vision of this experimental music and build upon it further in this larger ensemble format. These explorations are continued further in the groups latest release “Horizontal Depths,” which is out now.

1. 27 Hours (5:45)
2. Horizontal Depths - Part One (2:20)
3. This Is Fine (4:45)
4. The Sorrow (3:45)
5. Echo Park (6:53)
6. Tautology (5:06)
7. Horizontal Depths - Part Two (7:28)
8. Lester Sleeps In (4:37)

This expertly crafted, wholly impassioned new recording opens on the playfully flirtatious 27 Hours and then proceeds to bring us the transformative melodies within Horizontal Depths - Part One, the upbeat and fluent This Is Fine, before we are lovingly gifted the lonesome, yearning ode The Sorrow.

Along next is the free spirited Echo Park which is itself backed seamlessly by the magically sombre Tautology, the music rounding out on the vibrantly-hued Horizontal Depths - Part Two, coming to an all too soon close on the veritably cinematic Lester Sleeps In.

Musicians:
Naomi McCarroll-Butler - Alto Saxophone and Bass Clarinet
Patrick Smith - Tenor Saxophone
Dan Pitt - Electric Guitar and Compositions
Alex Fournier - Double Bass
Nick Fraser - Drums and Cymbals

Title - Before The World Sleeps
Artist - Alfredo Santa Ana / Miranda Wong

For those unaware, it is hardly an overstatement to say that, regardless of one’s artistic discipline or aesthetic orientation, among the biggest questions facing artists today is the very future of humanity itself. That might sound bleak, but it’s difficult to contest the precariousness of the present moment, be it in the political, environmental, or technological realm.

Rather than grappling with this topic beneath the surface of his music, Vancouver-based Mexican-Canadian composer Alfredo Santa Ana has elected to work with these assumptions transparently on his new release, Before the World Sleeps, though not in the manner that one might expect. In his case, these concerns manifest more in terms of his approach than as some sort of programmatic arc.

The impact of these conditions on those composing music for others to interpret is undeniably particular to that world. If technology encroaches further, if intrapersonal connections become more strained, and if performances become less-than-feasible because of climate change or the economy, artists in the concert music realm will need to radically rethink things.

Yet, as Santa Ana notes, his goal with this album, was not to celebrate despair or calamity, or to come up with music filled with ideas about the end of the world and humanity’s demise. It was to reorient the compositional process toward creating small pieces of music that I could finish quickly, and using an archiver’s mindset, commit them to a recording rather than prepare them for public performance.

1. A Council of Apparitions - I. Zaloasymphnesis (7:09)
2. A Council of Apparitions - II. Castle Keep (4:31)
3. A Council of Apparitions - III. Two Worlds (5:49)
4. Memory, I often think of you as time ash… - I. A New Culture of Nostalgia (2:43)
5. Memory, I often think of you as time ash… - II. The Feeling of Forgetting (1:48)
6. Memory, I often think of you as time ash… - III. Lessons for Oblivion (2:45)
7. Memory, I often think of you as time ash… - IV. Phantom Étude (2:09)
8. Colours - I. Fuchsia (2:05)
9. Colours - II. Marigold (1:13)
10. Colours - III. Aegean (1:21)
11. Colours - IV. Wheelbarrow Red (1:28)
12. Colours - V. Absinthe (1:13)
13. Little Ice Age - I. The Cold Gathers (2:40)
14. Little Ice Age - II. Ice Gods Don’t Keep (2:54)
15. Little Ice Age - III. The Introvert (2:31)
16. Little Ice Age - IV. Prayer to a Vanishing Sun (3:50)
17. Little Ice Age - V. Snow Dirge (2:19)
18. Little Ice Age - VI. The Last Hymn (1:40)

Recorded on July 25th & 26th, 2024 at HippoSonic Studio in Vancouver, British Columbia, this beautifully sculpted new recording opens on the beautiful three part A Council of Apparitions: the delicately-hued Zaloasymphnesis, the crystalline notes within Castle Keep and then we get the languishing, yet emboldened Two Worlds; and then comes the stunning four part work Memory, I often think of you as time ash…: opening on the flourishing A New Culture of Nostalgia, the cogent The Feeling of Forgetting, the grandeur of Lessons for Oblivion, rounding out on the breathtaking, sheer elegance of Phantom Étude.

Along next is the profound five part Colours: which begins with the ornately-imbibed Fuchsia, then we get the stoic Marigold, the foreboding nature within Aegean, the stillness, one minute, startling the next of Wheelbarrow Red, and culminates on the delicate hue found veined throughout Absinthe; the impassioned six part Little Ice Age bringing the collection to a conclusion: the graceful The Cold Gathers, the flirtatious Ice Gods Don’t Keep, the intricate The Introvert, a sense of foreshadowing within Prayer to a Vanishing Sun, ending on the calming Snow Dirge and a sense of conforming quietude within The Last Hymn.

Musicians:
Miranda Wong - Pianist
Alfredo Santa Ana - Composer