For those unaware, for more than 50 years, Tower of Power has captivated music lovers with their unique blend of R&B, Funk, Soul, and Jazz spearheaded by the iconic Tower Horns.

For the very first time, that distinctive Tower of Power sound puts some soul into the holiday spirit with the album It’s Christmas - a collection of holiday classics and two original Christmas songs.

For vinyl collectors and aficionados, the album comes as both an eye-popping stand-alone red vinyl LP and a Limited-Edition red vinyl version that includes a 7" vinyl inside featuring the Channukah song Maoz Tzur on Side A and a Christmas medley on the B Side.

1. The Christmas Song
2. This Christmas
3. A Very Special Christmas
4. Hark The Herald Angles Sing
5. It’s Christmas (A Long Way From Home)
6. Silver Bells
7. O Holy Night
8. Santa Claus Is Coming To Town
9. Mary Did You Know
10. Maoz Tzur
11. Christmas Medley (O Christmas Tree, Christmas Time Is Here, What Child Is This)

This wonderfully ambient, and gloriously heartfelt new Holiday recording opens on an upbeat and oh-so joyous The Christmas Song, the R&B-grooved This Christmas, the low slung, harmonized A Very Special Christmas and the euphonious Hark The Herald Angles Sing, and they are followed by a dutifully soulful title track It’s Christmas (A Long Way From Home) and an all-embracing Silver Bells.

Along next is the uplifting O Holy Night and the soulful blues of a delightfully funky Santa Claus Is Coming To Town and they are in turn backed seamlessly by the languishing Mary Did You Know, a simply magnificently-imbibed Maoz Tzur, the new set closing on the rather lovely, veritably glistening Christmas Medley (O Christmas Tree, Christmas Time Is Here, What Child Is This).

Tower of Power - It’s Christmas [Official Album Video]

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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

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.

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www.francescotristano.com

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.

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Fanny Azzuro @ Instargram

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.”

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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.

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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.

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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

Official Purchase Link

www.novocombo.com

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.”

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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.

Official Purchase Link

www.christophercross.com

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.

Official Spotify Purchase Link

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.

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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.

Official Purchase Link

www.tomsalvatori.com

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.

Christopher Tyler Nickel | composer Mary Lynch VanderKolk | oboe Paige Roberts Molloy | piano Eduardo Rios | violin Andy Liang | violin Olivia Chew | viola Efe Baltacıgil | cello.

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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.

Official Purchase Link

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.

Official Purchase Link

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.”

Pritesh Walia Jazz Trio - Hope Town [Official Video]

www.priteshwaliamusic.com

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.

Official Purchase Link

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

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

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.

Official Purchase Link

www.avishaicohen.com

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!

All Cried Out (Key Version)

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.

Official Purchase Link

www.elemental-music.com

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.

Official Purchase Links

www.carpentersofficial.com

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]

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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.

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

Official Purchase Link

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.

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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.

Official Purchase Link

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.

Official Purchase Link

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?

Official Purchase Link

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?

Official Purchase Link

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.

Official Purchase Link

www.tonylevin.com

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)

Official Purchase Link

www.beledo.com

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 Purchase Link

Official Luca Calabrese Website

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

Official Purchase Link

www.quartetdiminished.com

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)

Official Purchase Link

www.markwingfield.com

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).

Omnivore presents Little Richard Vinyl [Official Video]

Official Purchase Link

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 Live From The Woods CD Purchase Link

Official Acoustic Live Vol. 1 CD Purchase Link

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 Website

Official NAOMI MOON SIEGEL Facebook Page

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

Official Purchase Link

www.sweetrelief.org

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 Purchase Link

Official Luca Calabrese Website

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.

Official Purchase Link

www.doerthedrothen.com

Dörthe Drothen @ Facebook

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

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

Official Purchase Link

www.jcgardnermusic.com

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

Official Spotify Purchase Link

www.neffirizarry.com

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

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.

www.alexmclaughlinbass.com

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

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

Official Purchase Link

www.margaretslovak.com

Margaret Slovak @ YouTube

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

www.TheBeachBoys.com

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).

Official Website

Ginetta M. @ Facebook

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.”

Official Beach Boys 7” Color Vinyl Purchase Link

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

www.TheBeachBoys.com

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

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