Queen Rock Montreal captures the world’s most iconic rock band at the very peak of their live powers. Recorded in 1981 and recently released as a record-breaking digitally restored IMAX concert film, this landmark moment in the band’s history is now being released as both double Blu-Ray and double 4K Ultra High Definition packages, plus double CD and triple vinyl packages.

Queen Rock Montreal presents Freddie Mercury, Brian May, Roger Taylor and John Deacon at their most exciting and exhilarating. As Brian May puts it, this is Queen “live and dangerous.”

Queen were on all-conquering form when they returned to Montreal, Canada for the fourth time in November 1981 to play two huge concerts at the 18,000-seat Forum. This pair of Montreal concerts marked an historic moment for Queen.

After their massive success in the 1970s, the band entered the 80s bigger than ever, with the hugely successful The Game album producing their two biggest ever US singles in Another One Bites The Dust and Crazy Little Thing Called Love (both Billboard No.1’s), followed by the UK No.1 single Under Pressure.

Queen’s return to Montreal came after almost two years of touring, including their very first tours of South and Central America, which saw the band playing two nights at Sao Paulo’s Morumbi Stadium to more than 150,000 devoted fans. As a result, when the band arrived in Canada in November 1981 they were in electrifying form.

“Montreal is one of our favorite cities, it’s a great audience there, very full of energy,” says Brian May. “We’d played this particular venue, The Forum, several times before, and it was always full of really enthusiastic people giving us a lot of energy back.”

The original concerts, which took place on November 24 and 25, 1981, were truly ground-breaking. They were arranged specifically to be filmed for a full-length concert film to document their live show. Director Saul Swimmer planned to shoot them using state-of-the-art Double Anamorphic 35mm footage, which allowed it to be projected on a gigantic, five-storey high screen. Backstage tensions between the members of Queen and Swimmer could have caused problems, but instead they propelled the band to new heights.

“We were very, very hyped up, some of the tempos are really fast, there’s a lot of really incisive, angry playing,” says May.

Says Taylor: “It’s fascinating to now realize how free we were on stage in 1981. It’s a four piece, just the four of us in Queen, and to see Freddie. It’s like being on stage with the band because the cameras are very high quality for the time. I’ve never seen anything that makes you feel quite so involved with the performance.”

Side A:
1. Intro
2. We Will Rock You (Fast)
3. Let Me Entertain You
4. Play The Game
5. Somebody To Love

Side B:
1. Killer Queen
2. I’m In Love With My Car
3. Get Down, Make Love
4. Save Me

Side C:
1. Now I’m Here
2. Dragon Attack
3. Now I’m Here (Reprise)
4. Love Of My Life
5. Under Pressure

Side D:
1. Keep Yourself Alive
2. Drum And Tympani Solo
3. Guitar Solo
4. Flash
5. The Hero

Side E:
1. Crazy Little Thing Called Love
2. Jailhouse Rock
3. Bohemian Rhapsody
4. Tie Your Mother Down

Side F:
1. Another One Bites The Dust
2. Sheer Heart Attack
3. We Will Rock You
4. We Are The Champions
5. God Save The Queen

From Freddie Mercury’s opening cry of “Hello Montreal. Long time no see. You wanna get crazy?”, things heat up very quickly thereafter, as from the musical opener We Will Rock You (fast version) and a sweeping Let Me Entertain You, on through into the trilogy of magnificence that was Play The Game and Somebody To Love, and flipping the first vinyl over and then getting the thunderous Killer Queen, I think it was obvious to everyone that no group blended melodic, operatic ballads with thunderous hard rock quite like they did.

Rounding out the first vinyl LP with the propulsive underlying I’m In Love With My Car and both the enthrallingly personal Get Down, Make Love, and a virtually bombastically cultured Save Me, the powerful vocal acrobatics of Mercury, May’s dazzling six-string pyrotechnics, Deacon’s rock solid heartbeat bass, and Taylor’s unstoppable rhythmic display, not to mention the unique combination of all four voices, is as gripping as any live show you could have ever seen in history.

The second vinyl LP opens on a gripping Now I’m Here, a track lyrically about the pressures of going into the studio and having to perform Dragon Attack, a quick reprise of Now I’m Here, and then we get one of the true highlights here, their signature, achingly diligent ballad Love Of My Life, and the immense Under Pressure.

Flipping the vinyl over (which just so happens to always have been on my favorite things to do) and we next get treated to the frantic Keep Yourself Alive, which is itself backed by a Drum And Tympani Solo which bleeds seamlessly into the Brian May Guitar Solo, before two cuts from the Flash Gordon soundtrack are brought forth: the magnificently operatic, cinematic Flash and the more languishing The Hero.

The third and final vinyl LP acts as more of a greatest hits ride, as it opens on the rambunctiously seductive Crazy Little Thing Called Love, a vibrantly authentic cover of Jailhouse Rock, and then we get another of the genuine highlights here, the soaring, veritably towering Bohemian Rhapsody, which is itself backed by one of my all-time favorites, the speed-fest of Tie Your Mother Down.

Flipping the vinyl over one last time on this lush three-record set, and next we get the rhythmic Another One Bites The Dust, with the last few songs being just as spectacular as the ones that have gone before, and again capture the band at their baddest best: the always impressive Sheer Heart Attack leading the way, then comes the anthemic trilogy of We Will Rock You, We Are The Champions, and an embroidered God Save The Queen, which then leaves us all wanting for more as the music, and the band, fade off into the night time darkness.

Official Purchase Link

For those unaware, Record label Acis presents the Baroque masterwork, Vespers of 1610 by towering genius of the Renaissance and Baroque, Claudio Monteverdi (1567–1643).

Conductor Matthew Robertson and professional choir and orchestra THE THIRTEEN ― “transfigures the listener,” (The Washington Post) ― collaborated on this historically informed project with early music specialists Dark Horse Consort, the award-winning Children’s Chorus of Washington, and GRAMMY ® -nominated producer, Geoffrey Silver.

The first American recording of its kind in over a decade, this double album brings together over 40 performers for Robertson’s interpretation of Monteverdi’s Vespers of 1610. The structure includes monastic chants sung by children’s chorus, full choir and solo textures, and fully-orchestrated movements that would have been heard in the Basilica San Marco in Venice.

Specialist early modern brass ensemble Dark Horse Consort (named after the bronze sculptures at St. Mark’s) and its families of cornettos, sackbuts, and recorders adds a vivid authenticity and warmth to the performance.

Disc One: (53:43)
1. Deus, in audjutorium 2. Antiphon: Dum esset rex in accubitu suo 3. Dixit Dominus 4. Nigra sum et formosa - Michele Kennedy 5. Antiphon: Laeva eius sub capite meo 6. Laudate, pueri, Dominum 7. Pulchra es, amica mea - Molly Quinn, Katelyn Jackson 8. Antiphon: Nigra sum et formosa 9. Laetatus sum 10. Duo Seraphim - Aaron Sheehan, Steven Soph, Oliver Mercer 11. Antiphon: Iam hiems transit 12. Nisi Dominus 13. Audi coelum verba mea - Oliver Mercer, Aaron Sheehan

Disc Two: (39:48)
1. Antiphon: Speciosa facta es 2. Lauda, Jerusalem 3. Sonata sopra sancta Maria 4. Hymn: Ave maris stella - Michele Kennedy, Katelyn Jackson, Edmund Milly 5. Antiphon: Sancta Maria succurre miseris

Magnificat
6. I. Magnificat anima mea Dominum 7. II. Et exultavit 8. III. Quia respexit 9. IV. Qui fecit 10. V. Et misericordia 11. VI. Fecit potentiam 12. VII. Deposuit potentes 13. VIII. Esurientes implevit bonis 14. IX. Suscepit Israel 15. X. Sicut locutus est 16. XI. Gloria Patri 17. XII. Sicut erat in principio

Recorded at the Franciscan Monastery of the Holy Land in America Washington, DC, USA on October 24-25, 2022 , this dutifully assured new recording opens on the strident Deus, in audjutorium, the choir-hued Antiphon: Dum esset rex in accubitu suo, the emboldened Dixit Dominus, the quietly dulcet Nigra sum et formosa (Michele Kennedy), the angelic Antiphon: Laeva eius sub capite meo, the enriched Laudate, pueri, Dominum, the melodic Pulchra es, amica mea (Molly Quinn, Katelyn Jackson), and then come the choir-hued Antiphon: Nigra sum et formosa, the gently sprightful Laetatus sum, the impassioned Duo Seraphim (Aaron Sheehan, Steven Soph, Oliver Mercer), the disc closing on the breathtaking Antiphon: Iam hiems transit, the compulsive Nisi Dominus, and the delicately ornate Audi coelum verba mea (Oliver Mercer, Aaron Sheehan).

The second disc opens on the choir-heightened Antiphon: Speciosa facta es and the formidable Lauda, Jerusalem and they are backed by the swirls and twirls that drive Sonata sopra sancta Maria, the more cultured Hymn: Ave maris stella (Michele Kennedy, Katelyn Jackson, Edmund Milly), and the simply heavenly Antiphon: Sancta Maria succurre miseris, the remainder of the disc featuring the resplendent Magnificat (the canticle of the Blessed Virgin Mary): the aching, yet short but sweet Magnificat anima mea Dominum, the harmonious Et exultavit, the forthright Quia respexit, the stoically-charged Qui fecit and the melodically-dashing Et misericordia.

The work, along with the collection, that rounds out on the formidablely regal Fecit potentiam and the compulsive elegance of Deposuit potentes, which are in turn backed seamlessly by the stoically-sculpted Esurientes implevit bonis, the flourishing Suscepit Israel, the dancefloor majesticness of Sicut locutus est, closing on the operatically-hued Gloria Patri and the all-embracing Sicut erat in principio.

www.acisproductions.com

For those unaware, Even in living memory, the locus of Jewish classical music has not always been Israel or the United States of America. This month, Acis is proud to release ART SONGS OF THE JEWISH DIASPORA, a new album of songs performed by Ian Pomerantz (bass-baritone), Byron Schenkman (piano), and Sarah Freiberg (cello).

The album is “a story of stories”. It uncovers a treasury of Jewish art song through which the diversity of the diaspora experience, and the lives, countries, and compositional styles of many overlooked composers is celebrated.

Many of the songs have not been recorded in the digital age and have survived only in archives up until now. Amongst them, there is queer, female, refugee, Sephardi, Ashkenazi, and Mizrahi representation.

Pomerantz and Schenkman’s research and performance project is one of the heart, and the album has been years in the making. It features nineteen works written by ten composers, with songs in six languages, together with piano and cello solo tracks. The liner notes come with modern translations and biographical details deepened through new research and the cooperation of surviving family members and their estates.

Pianist BYRON SCHENKMAN says, “This program is one of the most personally meaningful of the more than forty recording projects I have been a part of. Like so many Jews in diaspora, I was taught from an early age to hide, or at least downplay, my Jewish identity. Now it is a joy and an honor to celebrate not only my own heritage but the rich diversity of Jewish experience.”

Bass-baritone IAN POMERANTZ says, “The composers and poets here are a testament to the persistence of Jewish art music down the centuries and their legacy that continues into the present. We had to limit ourselves to what would fit on an album –– an album that will now be a door for others into a vast treasury of music that needs exploring! We were particularly fortunate to have the involvement of the living composers, as well as several descendants and estates of those who have died, to help us bring these works to life while exploring the histories of our own families in the 19th and 20th centuries.”

Three Sephardic Songs by Mario Castelnuovo-Tedesco
1 Montañas altas
2 Ven y veras
3 Una noche

Six chansons populaires by Léon Algazi
4 Hinné ma tov!
5 Shur, dodi!

arr. Sidor Belarsky
6 Papir iz dokh vays
7 Dem Milners Trern
8 Zol shoyn kumen di Geule

Five Pieces for Piano, Op. 19 by Joel Engel
9 No. 1, Nigun

Lazar Weiner
10 Es brent, briderlech, es brent!
11 Unter dayne vayse shtern

The Seed of Dream, Lori Laitman
12 4. Beneath the Whiteness of Your Stars

Yehudi Wyner
13 Psalm 119

Three Pieces for Piano, Op. 12 by Joel Engel
14 No. 2, Mazurka in F# Minor

Darius Milhaud by Poèmes Juifs, Op. 34,
15 No. 2 Chant de Sion

Six Chants Populaires Hébraïques, Op. 86
16 No. 3 Chant Hassidique

Impressions by Henriëtte Bosmans
17 No. 2, Nuit Calme

Ilse Weber
18 Ich wandre durch Theresienstadt
19 Wiegala

This masterfully performed and recorded selection of Jewish art music opens on Three Sephardic Songs by Mario Castelnuovo-Tedesco: the strident Montañas altas, the playful Ven y veras and the delicately-hued Una noche and then we get Six chansons populaires by Léon Algazi: the foreboding tone within Hinné ma tov! and the emboldened Shur, dodi!, and then comes a trilogy arranged by Sidor Belarsky: the all-embracing Papir iz dokh vays, the veritably glistening Dem Milners Trern and the sprightly Zol shoyn kumen di Geule.

Along next is Five Pieces for Piano, Op. 19 by Joel Engel: and the ornate No. 1, Nigun, then we get Lazar Weiner’s flighty Es brent, briderlech, es brent! and the more impassioned Unter dayne vayse shtern, The Seed of Dream, Lori Laitman’s heartfelt Beneath the Whiteness of Your Stars, and they are backed by Yehudi Wyner’s stoically crystalline Psalm 119, and Three Pieces for Piano, Op. 12 by Joel Engel: the ornate beauty that is No. 2, Mazurka in F# Minor.

The works, and indeed the collection therein, then begin to round out on Darius Milhaud by Poèmes Juifs, Op. 34: and a sombre prose that drives No. 2 Chant de Sion, the flirtatious Six Chants Populaires Hébraïques, Op. 86 piece No. 3 Chant Hassidique, Impressions by Henriëtte Bosmans and the shimmering No. 2, Nuit Calme, closing on Ilse Weber’s vocally enriched Ich wandre durch Theresienstadt and the forthright yearn heard to be threaded within Wiegala.

www.acisproductions.com

Hollywood Records and Searchlight Pictures are excited to announce the April 12th, 2024 release of The Greatest Hits (Original Motion Picture Soundtrack) 2-LP color vinyl album and (Original Score Soundtrack) digital album with music and score by Academy Award® nominated composer, musician and Son Lux founding member Ryan Lott (Everything Everywhere All at Once).

The 2-LP Violet and Aqua colored vinyl album is available now and features the original song, “Never Lost,” by Grammy Award® winning artist Nelly Furtado (written by Nelly Furtado and Ryan Lott), and music from Roxy Music, Beach House, Tune-Yards, Neil Frances, Peggy Lee, and more.

The film was first available in select theaters on April 5th and then was streaming on Hulu starting April 12th, 2024.

Side A:
1. Block It Out - Performed by Ryan Lott
2. Loud Places - Performed by Jamie xx (Featuring Romy)
3. Gap in the Clouds - Performed by Yellow Days
4. Music Sounds Better with You - Performed by Neil Frances
5. Heybb! - Performed by binki
6. Powa - Performed by Tune-Yards
7. New Goodbye - Performed by Ryan Lott

The first side opens on the veritably translucent, 30-second Block It Out (Ryan Lott) and then we get the seductive Loud Places (Jamie xx featuring Romy), the emboldened soul of Gap in the Clouds (Yellow Days), the joyous funk rhythms that drive Music Sounds Better with You (Neil Frances), and then come the energetic Heybb! (binki), the acoustically-imbibed, fluctuating Powa (Tune-Yards) and closes on the shimmering Ryan Lott track New Goodbye.

Side B:
1. Feel Again - Performed by Ryan Lott
2. To Turn You On (Disco Pusher Remix)- Performed by Roxy Music
3. Running - Performed by Helado Negro
4. New Romance - Performed by Beach House
5. I’m Like a Bird - Performed by Nelly Furtado
6. Setting the Night on Fire - Performed by Ryan Lott

The flip side to the first vinyl opens on the synth-laden, 51-second dreamscape of Feel Again (Ryan Lott) and then brings us one of my own personal favorites, Roxy Music’s lush To Turn You On (Disco Pusher Remix), and the gently pulsing Running (Helado Negro), the fluid New Romance (Beach House), the side closing on the always-elegant I’m Like a Bird (Nelly Furtado) and the hauntingly ethereal Setting the Night on Fire (Ryan Lott).

Side C:
1. Don’t Push It Don’t Force It - Performed by Leon Haywood
2. Make Me Believe in You - Performed by Patti Jo
3. Ohh I Love It (Love Break) (Dimitri from Paris Dj Friendly Classic Re-Edit)- Performed by The Salsoul Orchestra
4. Feel the Music - Performed by Hifi Sean (Featuring Celeda)
5. Next to You - Performed by Locussolus (Featuring Heidi Lawden)

Putting the second vinyl on the turntable, it opens on the soulful funk grooves that drive Don’t Push It Don’t Force It (Leon Haywood) and the Northern Soul of Make Me Believe in You (Patti Jo) and then we get the all-embracing 70s soul of Ohh I Love It (Love Break) (Dimitri from Paris Dj Friendly Classic Re-Edit) (The Salsoul Orchestra), the soaring Feel the Music (Hifi Sean featuring Celeda), the side rounding out on the lushly meditative mood that drives Next to You (Locussolus featuring Heidi Lawden).

Side D:
1. Never Lost - Performed by Nelly Furtado and Ryan Lott
2. Play It on My Radio - Performed by Niki and The Dove
3. Me and My Shadow - Performed by Peggy Lee
4. Alternate World (Alternate Life) - Performed by Son Lux and Kishi Bashi
5. Too Easy to Return - Performed by Ryan Lott
6. Memories of Max - Performed by Ryan Lott
7. Silent Disco - Performed by Ryan Lott
8. Thank You So Much for This - Performed by Ryan Lott
9. New Hello - Performed by Ryan Lott

The fourth, and final side opens on the smooth R&B of Never Lost (Nelly Furtado & Ryan Lott) and the dulcet flashback groove within Play It on My Radio (Niki and The Dove), and they are in turn backed by a gentle, ethereal piano version of Me and My Shadow (Peggy Lee), an atmospheric Alternate World (Alternate Life) (Son Lux & Kishi Bashi), and then a quintet of instrumentals from Ryan Lott bring the whole recording to a magical close.

“I loved working on this film with Ned, our second together. He’s so receptive to the emotional resonances that music creates inside him and stays in tune with those frequencies. His insights allowed me to remain intuitive throughout, even when many of the things the score had to accomplish were quite technical.”

“While our protagonist experiences a different kind of metaphysical impact of music in her life than I do, it’s akin to the transporting inebriation that I’ve always felt from music. Scoring those experiences to capture that kind of heightened, altered state, weaving between and within great songs by other artists, was its own transporting experience for me.”

Ned Benson, The Greatest Hits Writer, Director, and Executive Soundtrack Album Producer, added, “I am haunted by music. It’s my partner in crime when I write or when I drive around LA. It’s the pile of records on my shelves and floor that gets me up in the morning and reminds me to live. To me, there’s no better self-medication than getting lost in a song. So, this movie, and this soundtrack, was a love letter to music and its ability to not only take us back in time, but to remind us to live in the moment.”

Official Purchase Link

www.hollywoodrecords.com

Them Twangers are a group of musicians who love to play music and have fun. The crew is head up by Andy G. Twanger, songwriter and chief bottle washer. Is Andy G. Twanger his real name? Well, maybe (or not) but it sure sounds good.

Mr. Twanger’s love of music started at his first concert when he saw the Beatles live at New York’s Shea Stadium. Was it the music or was it the girls going crazy no one really knows for sure, but from that day forward all hell broke loose when A.G.Twanger traded his 10 speed bike to buy his first electric bass guitar. That black custom shop Fender Jazz Bass is still in use today.

Although AGT couldn’t play a note when he first started out, he somehow knew it was his calling. Now after years of playing music and writing songs we fast forward to today, with the A.G.T. and the Mystic Twangers.

1. Time Slips Away (3:27)
2. Last Call (5:00)
3. Never Will (3:44)
4. Time Out (4:08)
5. Hallway Mirror (3:48)
6. I Won’t Give Up (3:33)
7. Baby Don’t Tell Me (4:58)
8. The Waters Rising (2:59)
9. Two Ragged Drifters (4:19)
10. Haybo Traveler (4:26)
11. Another Fallen Hero (4:03)
12. Ruby Red (4:46)
13. Do You Know How It Feels (4:37)

The album opens on the free flowing title track Time Slips Away and the languishing Last Call and then we get the rockier Never Will, the blues soul of Time Out, and then come the dutiful ballad Hallway Mirror and the upbeat I Won’t Give Up.

Along next is the impassioned Baby Don’t Tell Me and the Caribbean-imbibed The Waters Rising and they are in turn backed by the veritably shimmering Two Ragged Drifters, the fiddle-tastic Haybo Traveler, the road worn, Americana vibe of Another Fallen Hero, the recording rounding out on the embracing Ruby Red and closing on the acoustic feel that threads through the beautifully sculpted Do You Know How It Feels.

Official Purchase Link

www.mystictwangers.com

9 Horses is an improvising chamber ensemble featuring Joe Brent (formerly of Regina Spektor’s band) on acoustic and electric mandolin, 2018 GRAMMY nominee Sara Caswell (Esperanza Spalding) on violin and Hardanger d’amore, and Andrew Ryan (Kaia Kater) on bass.

Featuring Brent’s original compositions and the incendiary, genre-hopping virtuosity of all three members, the trio at the core of 9 Horses represents their vision of a musical future with no barrier between folk art and fine art, and as an ensemble are capable of communicating this idea through musical canvases both great and small.

Originally formed in 2012 as a duo between Brent and Caswell, 9 Horses expanded to a trio the following year and in 2015 released its debut album Perfectest Herald (Sunnyside Records), a title drawn from Much Ado About Nothing (Silence is the perfectest herald of joy: I were but little happy, if I could say how much).

The centerpiece of the album is a 4-movement suite for the acoustic trio alone which takes the listener on a searing journey through tragedy, triumph, and renewal. Budd Kopman wrote in All About Jazz: Brent’s music is just bursting with emotion and its immediacy is partly what makes it so attractive and inviting. This highly emotive music touches and communicates the essence of what it means to be an alive, feeling human being.

1. Strum (11:28)
2. Americannia (10:34)
3. Gasparilla (5:51)
4. Röhrl (6:36)
5. Long Time Away (7:28)
6. Jenny-Pop Nettle Eater (7:59)
7. Just Don’t Call It That (8:16)
8. The House That Ate Myself (8:55)

The album opens on the delicately-imbibed, Asian-hued, 11 minute title track Strum and the aptly-titled, 10-minute Americannia, and the funkier rhythms, and harmonic organ and soaring percussion that drive Gasparilla and then comes the industrially-charged Röhrl.

Along next is the veritably cinematic Long Time Away which is itself backed by the Indian-flavored melodies that make up Jenny-Pop Nettle Eater, the recording rounding out on the cultured Just Don’t Call It That, closing on the intricately plucked musical majesties within the nine minute The House That Ate Myself.

9 Horses Are:
Joe Brent: acoustic and electric mandolin, acoustic and electric guitar, resonator guitar, baritone guitar, Nashville guitar, violin, bağlama, tenor banjo, vihuela, lyre, piano, celesta, synths and synth programming, kalimba, glockenspiel, percussion
Sara Caswell: violin, hardanger d’amore
Andrew Ryan: acoustic bass

Official Purchase Link

www.josephbrent.com/9horses

Bruna Black & John Finbury’s new album, “Vã Revelação,” is a meditative Brazilian jazz sojourn that exemplifies the subtle shift from spring to summer. Ms. Black’s vocals are as seductive as a cool wave on a warm day.

Equally as impressive is the rhythm section led by—oh, what the heck, the entire band is strong. The players on this exquisite collection of songs composed by John Finbury are Vito Goncalves (piano), Chico Pinheiro (guitars), John Patitucci (bass), Duduka Da Fonseca (drums), and Rogerio Boccato (percussion).

Simply put, this is music with a heart, a heartbeat, and an imagination. Smooth, subtle, sophisticated, and worthy of accompanying you on your next mental getaway.

1. Vã Revelação
2. Pérolas
3. Para Me Entender
4. Inverno de Nós Dois
5. Nosso Cais
6. Uma Noite Com Vocé
7. Romántico Calor
8. Será; Chão de Nuvem

The album opens on the delicately-hued, flourishing title track Vã Revelação and the smoldering Pérolas and then brings us the sweeping playful Para Me Entender, the all-embracing Inverno de Nós Dois, and the furtive Nosso Cais.

Along next is the impassioned beauty found within Uma Noite Com Vocé which is in turn backed by the prosperous piano work that accompanies Romántico Calor, the recording rounding out on the sumptuous Será, closing on the Parisian-imbued Chão de Nuvem.

Vã Revelação - Bruna Black / John Finbury [Official Video]

Official Spotify Purchase Link

John Finbury @ Instagram

Vacil​ó​n Santiaguero is Kiki Valera’s second US solo release after many distinguished years as director of La Familia Valera Miranda in Santiago de Cuba.

It reaches beyond his core performing group to present collaborations with some GRAMMY® award winning musicians and to feature his favorite trumpeters, some Cuban-born, others US-born, but all with justified reputations for playing Cuban music out of love if not from DNA.

“Vacilón” is one of those words that doesn’t have a perfect English equivalent to Cuban Spanish, but something that is a REALLY good time (a little rum or aguardiente always helps) comes close.

So what sets this apart from the vast mountain of excellent traditional albums already out there? Not only is there Kiki’s custom-built Cuban cuatro, which brings a unique texture to the sound, rather than a tres, but in his jazz-influenced hands, you will occasionally hear twists and turns in the solo work that you probably weren’t expecting when you first glanced over the song titles; which are mostly Cuban evergreens.

Thanks to Kiki’s creative arrangements, this is no mere recycling of cover versions of these classic songs.

1. Este Vacilón (5:20)
2. El Ají de Cocina (5:07)
3. Sobre una Tumba una Rumba (7:04)
4. El Penquito e’ Coleto (4:11)
5. Funfuñando (5:31)
6. La Guajira (5:46)
7. Mari-Juana (3:54)
8. Muñequita Feliz (6:30)
9. El Empanadillero (4:35)
10. Pájaro Lindo (6:23)
11. Dos Gardenias (2:56)
12. El Cuarto de Tula (5:34)

The album opens on the wholly impassioned Este Vacilón and the bouyant El Ají de Cocina and then brings us the percussion-hued Sobre una Tumba una Rumba, the flirtatiously decadent El Penquito e’ Coleto, before both the melodic Funfuñando and the free flowing La Guajira are brought forth.

Along next is the spirited Mari-Juana and the all-embracing Muñequita Feliz and they are in turn backed by the effervescent El Empanadillero, the elegantly-sculpted Pájaro Lindo, the recording rounding out on the gently euphoric Dos Gardenias, closing on the dancefloor hipsway of El Cuarto de Tula.

Official Purchase Link

www.kikivalera.com

On his second ZOHO release, jazz saxophonist Paul Kendall switched from tenor to baritone sax, showcasing tunes from the Great American Songbook.

My Shining Hour is an hour of jazz for the world to hear and enjoy: It is a collection of my favorite songs, mostly written between 1940 and 1960, Paul explains.

It is intended as a companion project to my first ZOHO CD release Whisper Not (ZOHO ZM 202401) where I was heading a swinging organ trio and playing tenor sax. For this album, I chose a quartet setting grouped around pianist George Grund who has been a Lehigh Valley, PA staple. He is one of the best players I have met since moving out here, and I tapped him for this recording.

1. You Stepped Out Of A Dream
2. All Of You
3. Everything Happens To Me
4. My Shining Hour
5. Joy Spring
6. Invitation
7. If You Could See Me Now
8. Once I Loved
9. Confirmation
10. Desafinado
11. Tangerine
12. Hi Fly
13. I Hear A Rhapsody
14. It Could Happen To You

The album opens on the fervently-charged You Stepped Out Of A Dream and the free-flowing Cole Porter classic All Of You and then proceeds to bring us the most perfect baritone ballad Everything Happens To Me, the furtive finger-snapper My Shining Hour (Paul’s favorite take of the session), intricate melodies then combine on Joy Spring, before we are brought forth the 6/8 groove that provides the heartbeat for Invitation and the flirtatious If You Could See Me Now.

Along next is the languishing Once I Loved and the spirited Confirmation and they are in turn backed by the embracing warmth found within Desafinado, the robustly rhythmic Tangerine, the dutiful Hi Fly, the recording rounding out on the flavorful I Hear A Rhapsody, coming to a close on the sheer sculpted elegance that bleeds through on It Could Happen To You.

Official Purchase Link

For those unaware, It’s Worth It is the second solo album by Delay Tactics guitarist and keyboard player David Udell. Indeed, It’s Worth It follows Dave’s 2015’s Orchids and Elements Of Surprise, the 2022 album by progressive, instrumental synth-pop band, Delay Tactics.

It’s Worth It features Udell on electric, acoustic, nylon, and slide guitars, piano synth/keyboards, bass guitars, theremin, stylophone, flexitone, trumpet, percussion and toys!

The album also features a supporting cast, including Carl Weingarten (slide lead guitar), Walter Whitney (modular synthesizer), Mike Long (drums), in addition to a range of our fine musicians and vocalists.

2. It’s Beginning To Look Like Rain (3:43)
3. Slow Song (5:43)
4. The Motion Song (1:14)
5. Our River (3:19)
6. Solid Ground (3:22)
7. Made My Peace (3:32)
8. Is It Worth It? (3:12)
9. Unexplored Expanses (2:43)
10. It’s Worth It (6:33)

The album opens on the guitar rocker Watching The Freak Parade and the mid-tempo, Beatlesesque It’s Beginning To Look Like Rain and then we get the languishing, aptly-titled Slow Song, the gently playful handclapper The Motion Song, and then the indie rocker Our River comes to the fore.

Along next is the acoustic guitar/woodwind, psych-hued ballad Solid Ground and that is in turn backed by the sheer lush elegance of Made My Peace, the building rock that drives the Is It Worth It?, the recording rounding out on the atmospherically-charged Unexplored Expanses, closing on the low slung, piano-led, psych-prog title track It’s Worth It.

Official Website

US prog artist Leon Alvarado is excited to unveil his newest album, The Changing Tide. Set to release on May 31st, 2024, this highly anticipated album follows the successful EP release, which previewed two of the album’s tracks; a captivating cover of Pink Floyd’s “Brain Damage,” and the enchanting instrumental “Dance of The Pink Elephants.”

Alvarado explains, “The creation of The Changing Tide was very much influenced by the musical heritage of Pink Floyd. We aimed to seamlessly blend their timeless formula with our unique styles to produce material that charts its own course.”

While acknowledging the influence of Pink Floyd as a foundational element, Alvarado emphasizes the infusion of his own creative perspective. “Listeners can anticipate a departure of sorts from my previous works,” he shares, “yet they’ll find my hallmark keyboard textures and atmospheric nuances intricately woven throughout.”

Alvarado is joined on this musical endeavor by an ensemble of exceptional musicians, featuring bassists Tony Franklin (known for his work with Jimmy Page and Paul Rogers on The Firm) and Gary Gnaedinger, guitarists Edoardo Scordo and Damian Darlington (both renowned members of Brit Floyd), alongside Jimmy Griggers also on guitars and saxophonist John Helliwell (from Supertramp fame).

Additionally, L.A. session musician Pablo Hopehayn contributes on strings. The backing vocals on Brain Damage are skillfully provided by Jeff Sanson, Liz Hall, and Linda Alvarado.

“The Changing Tide” will be available for streaming on all major platforms and will also be released on CD through Melodic Revolution Records. The physical CD promises to be a sensory delight, boasting stunning artwork within an impeccably designed package that will undoubtedly enhance any music enthusiast’s collection.

Leon Alvarado is a progressive rock artist known for his innovative fusion of electronic and rock music. Over the course of more than two decades, Alvarado has consistently demonstrated his ingenuity as a musician, constantly expanding the horizons of his artistic vision with each successive project.

His repertoire boasts collaborations with esteemed figures in the Prog rock scene, earning him widespread acclaim and nurturing a devoted fanbase worldwide. Beyond his own musical creations, Leon frequently collaborates with bands and promoters, channeling his artistic skills into crafting fascinating album covers and promotional tour materials.

1. THE EQUILIBRIUM OF TIME
2. A DAY OF A DIFFERENT SORT
3. A VIEW FROM A DIFFERENT ROOM
4. DANCE OF THE PINK ELEPHANTS
5. THE CHANGING TIDE
6. BRAIN DAMAGE

The album opens on the hauntingly atmospheric THE EQUILIBRIUM OF TIME and then we get brought forth the lushly orchestrated A DAY OF A DIFFERENT SORT, the soaringly ambient A VIEW FROM A DIFFERENT ROOM, before one of my own personal favorites the foreboding, at first, flourishing latterly DANCE OF THE PINK ELEPHANTS, with the recording rounding out on the water-hued, swirls and twirls of the simply magical rock opus THE CHANGING TIDE, closing on the Pink Floyd, organ-strewn masterpiece BRAIN DAMAGE.

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Rinaldo Alessandrini and Concerto Italiano continue their exploration of 17th century Italian motets with a new disc of works by composer Alessandro Stradella (1643-1682), out on Naïve Classiques on June 21st, 2024.

Principally known for his oratorios and operas, Stradella’s output of sacred motets is “still in an embryonic state,” says Rinaldo Alessandrini. “Three manuscripts can be found in the Biblioteca Estense in Modena: a total of seventeen motets for various ensembles, of which five have been recorded on this CD.”

The album also includes Stradella’s Symphonias in D Major and F Major. Except for Stradella’s Exultate in Deo fideles, all of the motets on the album are world premiere recordings.

Rinaldo Alessandrini writes, “Some of the motets recorded here are dedicated to the Virgin Mary, or to be specific, are written for particular festivals: Nascere virgo for the Nativity (September 8); Convocamini, congregamini for the Immaculate Conception (December 8).”

“The motet Sistite sidera was conceived for more general festivities of the Blessed Virgin, as was In tribulationis. Stradella himself, however, is the stated author of the text of the extra-liturgical motet Exultate in Deo fideles referred to as for the Most Holy.”

1. Stradella: Symphonia a 2 violini in D Major
I. Grave
II. Allegro
III. Allegro
IV. Adagio - Allegro
V. Allegro

2. Stradella: In tribulationibus, in angustiis
No. 1, In tribulationis, in angustis
No. 2, Aria, Ad montem venite
No. 3, Ad floridum montem
No. 4, Hic spirant lenite
No. 5, O mons delitiarum
No. 6, Aria, O gratum montem
No. 7, Eamus egentes

3. Stradella: Exultate in Deo fideles
No. 1, Aria, Exultate in Deo fideles
No. 2, Haec sunt munera divina
No. 3, Aria, Exaudi supplices

4. Stradella: Nascere Virgo potens
No. 1, Nascere Virgo potens
No. 2, O te felicem
No. 3, Per te superbus anguis
No. 4, Mille cantus, mille plausus

5. Stradella: Sistite sidera, coeli motus otiamini
No. 1, Introduzione, Sistite sidera, coeli motus otiamini
No. 2, Aria, Ignis calor sopitus existat
No. 3, Ecce sidus splendidissimus
No. 4, Aria, Ergo grates ei reddamus
No. 5, In tantae solemnitatis die universus orbis
No. 6, Aria, Praestet tellus encomia florum
No. 7, Et omnis creatura
No. 8, Aria, Ergo grates ei reddamus

6. Stradella: Symphonia a 2 violini in F Major: I. Grave

7. Stradella: Convocamini, congregamini
No. 1, Convocamini, congregamini (Lucifero)
No. 2, Huius cruore (Lucifero, 3 Spiriti d’Inferno)
No. 3, Iniustum decretum (Lucifero, 5 Spiriti d’Inferno)
No. 4, Plora, geme
No. 5, Franget haec
No. 6, Caeli ianua patebit
No. 7, Tu absterges Virgo luctus
No. 8, Cum iucunditate
No. 9, Sit nostra tutela
No. 10, Cum iucunditate

The simply wondrous new recording opens on Stradella: Symphonia a 2 violini in D Major, with the sombre work Grave leading the way, then comes the sprightly Allegro, the dance floor swirl of Allegro, the dulcet Adagio - Allegro and the playful Allegro rounding the piece out, and then we get Stradella: In tribulationibus, in angustiis, which opens on the profoundly sung In tribulationis, in angustis, the flirtatious Aria, Ad montem venite, the cultured Ad floridum montem, the embracing Hic spirant lenite, the impassioned, and both the flourishing O mons delitiarum
No. 6, Aria, O gratum montem and the sterner fare of Eamus egentes.

Along next is Stradella: Exultate in Deo fideles, which begins with the ornately sumptuous Aria, Exultate in Deo fideles, the forthright Haec sunt munera divina, ending on the aching yearn found within Aria, Exaudi supplices, and then comes Stradella: Nascere Virgo potens, which itself opens on the earnest Nascere Virgo potens, the harmonized O te felicem, the embodied Per te superbus anguis, closing on the prosperous Mille cantus, mille plausus.

Next we are brought forth Stradella: Sistite sidera, coeli motus otiamini, which opens on the beautiful swirls and twirls that drive Introduzione, Sistite sidera, coeli motus otiamini, the dutiful Aria, Ignis calor sopitus existat, the delicate Ecce sidus splendidissimus, the simply dazzling Aria, Ergo grates ei reddamus, the accomplished In tantae solemnitatis die universus orbis, the cheerful Aria, Praestet tellus encomia florum, itself closing on the erstwhile Et omnis creatura and the spry Aria, Ergo grates ei reddamu.

The short Stradella: Symphonia a 2 violini in F Major: I. Grave is up next, the set closing on Stradella: Convocamini, congregamini, which begins on the sturdy fare of Convocamini, congregamini (Lucifero) and the earthy Huius cruore (Lucifero, 3 Spiriti d’Inferno), before bringing us the attentive Iniustum decretum (Lucifero, 5 Spiriti d’Inferno), the mindful Plora, geme, the all-embracing Franget haec, the empowered Caeli ianua patebit, culminating the work on the cognizant Tu absterges Virgo luctus, the conversant Cum iucunditate, the sentient Sit nostra tutela, and finally the appealing, short but chartered Cum iucunditate.

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Versatile cellist Christoph Croisé indulges in his passion for romantic Russian repertoire, coming together with close collaborators violinist Andrey Baranov and pianist Alexander Panfilov for a recording of works by a young Rachmaninoff.

All of the works on this album were written before 1917, the year that the composer left Russia in the wake of the Revolution, and eventually emigrated to the United States.

The prodigious Rachmaninoff wrote his single-movement Trio élégiaque in G minor in 1892, when he was just 18 years old. A year later, he put pen to paper to compose his second Trio élégiaque, in D minor, on the eve of the death of his friend and mentor Tchaikovsky, to whom he dedicated the work. Both trios are imbued with an air of nostalgia and melancholy that belie the composer’s youthfulness.

Christoph and his colleagues offer as encores a selection of songs arranged for piano trio by Alexander Panfilov: “How Fair This Spot” and “Lilacs” from Rachmaninoff’s 12 Romances, Op. 21, part of a set written during his honeymoon; and “The Dream” and “Daisies” from his Op. 38 collection Six Romances (1916).

The album ends appropriately with an arrangement of “Autumn Song” from Tchaikovsky’s solo piano work The Seasons.

SERGEI RACHMANINOFF (1873–1943)
1. Trio élégiaque No. 1 in G Minor
Trio élégiaque No. 2 in D Minor, Op. 9
2. I. Moderato-Allegro vivace
3. II. Quasi variazione. Andante
4. III. Allegro risoluto-Moderato

SERGEI RACHMANINOFF; arr. Alexander Panfilov
5. 12 Romances, Op. 21 No. 7, How Fair this Spot
6. 6 Romances, Op. 38 No. 5, The Dream
7. 6 Romances, Op. 38 No. 3, Daisies
8. 12 Romances, Op. 21 No. 5, Lilacs

PYOTR ILYICH TCHAIKOVSKY (1840–1893); arr. Louis Eaton
The Seasons, Op. 37a
9. No. 10, Autumn Song

Recorded on January 7th & 8th, 2024, at Reformierte Kirche, Niederlenz, Switzerland, this immaculate work opens on the gradually flowering, fifteen minute Rachmaninoff work Trio élégiaque No. 1 in G Minor and then brings forth Trio élégiaque No. 2 in D Minor, Op. 9, which opens on the sterner, aching fare of Moderato-Allegro vivace, the beautiful Quasi variazione. Andante, and closes on the sprightly flourishing Allegro risoluto-Moderato.

Along next is a quartet again by Rachmaninoff, which begins on the yearn found driving 12 Romances, Op. 21 No. 7, How Fair this Spot, the cultured 6 Romances, Op. 38 No. 5, The Dream, the more stoically-hued 6 Romances, Op. 38 No. 3, Daisies, culminating on the dainty, organically delicate 12 Romances, Op. 21 No. 5, Lilacs, the set closing on Tchaikovsky’s The Seasons, Op. 37a and the impassioned No. 10, Autumn Song.

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Brian Landrus Plays Ellington & Strayhorn features Landrus on a full spectrum of instruments: baritone and bass saxophones, bass and contra alto clarinets, piccolo, and C, alto and bass flutes.

With Grammy-winning engineer and producer John Kilgore, Brian Landrus layers his multi-hued voices into a rich and distinctive orchestral sound that harkens to the lush timbres of the classic Ellington Orchestra while displaying an evocative sonic hue all his own.

That tonality is given a brilliant foundation by the stellar rhythm section that Landrus has assembled for the occasion: guitarist Dave Stryker, bassist Jay Anderson, and drummer Billy Hart.

A mix of familiar classics and more obscure Ellingtonia, Brian Landrus Plays Ellington & Strayhorn is not just a testament to the immortality of these brilliant writers but also to Landrus’ orchestrational vision. The album is a celebration of two of America’s greatest composers, viewed through a fascinating and evocative sonic perspective.

1. Agra
2. Chelsea Bridge
3. A Flower is a Lovesome Thing
4. Day Dream
5. Praise God
6. Prelude To A Kiss
7. Come Sunday
8. The Telecasters
9. Lotus Blossom
10. Lush Life
11. Isfahan
12. Star Crossed Lovers
13. Warm Valley
14. Sophisticated Lady

The album opens on the atmospherically-charged Agra and the languishing beauty found within Chelsea Bridge and then we get the beautiful balladry of A Flower is a Lovesome Thing, the low slung, late night soiree that is Day Dream, the all-embracing Praise God, and then comes the preciseness of guitar that drives the lush Prelude To A Kiss and the ornate Come Sunday.

Along next is the dutifully-grooved The Telecasters and the diligently-hued Lotus Blossom, and they are in turn backed neatly by the low slung Lush Life, the slow dance of Isfahan, the recording rounding out on the delicately-imbibed Star Crossed Lovers, the veritably cinematic Warm Valley, coming to a close on the emboldened Sophisticated Lady.

Brian Landrus Biography

In the realm of my childhood, my father was more than just a man; he was a Renaissance Man. A multifaceted individual, he delved into the worlds of photography, music, and even mastered the art of billiards. As a mere five-year-old, I was but a sponge, eagerly absorbing the greatness exuded by my dad.

Our living room was a sanctuary of sound and culture, adorned with a piano, a couple of chairs, and a sophisticated stereo boasting a turntable. Each evening, as the aroma of dinner wafted from the kitchen where my mother toiled, the air would resonate with the melodies of jazz legends such as Miles Davis, Oscar Peterson, and John Coltrane, amongst a constellation of other luminaries.

My affinity for music blossomed early, with the upright piano in our living room becoming my instrument of choice. It was here that I first encountered classical compositions and familiarized myself with jazz standards like In a Sentimental Mood, Misty, and A Night in Tunisia.

Now, over five decades later, the yearning to perform my father’s cherished favorites ignited within me. The quest led me to Samurai Studios, where a century-old piano awaited, its timbre akin to liquid gold. Though my father departed in 2008, our session together felt like a communion between my earthly self and his celestial spirit. It was a comforting realization to know that he was present in the room as the music unfurled, culminating in the creation of the album Songs My Father Would Dig.

A poignant addition to this musical journey was the participation of my late cousin, Larry Willis. A luminary in his own right, Larry graced the stages alongside icons like Blood, Sweat & Tears and Hugh Masekela. We paid homage to him with the track To Wisdom, The Prize, infusing his spirit into the heart of our project.

Recording alongside Richie Goods on bass, and my steadfast companions Tony Lewis on drums and Edson da’ Silva on percussion, was a moment of pure joy. In the autumnal embrace of Queens, with the presence of both my father and cousin Larry permeating the air, we surrendered to the music, allowing it to carry us to transcendent heights.

May you, dear listener, revel in the melodies woven from the threads of memory and legacy. For within the strains of each note, resonates the essence of those who have shaped and inspired us along our journey. [Bob Baldwin].

1. EQUINOX
2. DOLPHIN DANCE
3. NARDIS
4. 0VERJOYED
5. STAR EYES
6. THE BEGINNING OF YOUR DREAMS
7. BLUE SOUL
8. TELL ME A BEDTIME STORY
9. SOUTH BEACH
10. TO WISDOM THE PRIZE
11. ’TIL WE MEET AGAIN (Instrumental)
12. ’TIL WE MEET AGAIN (Vocal)

The album opens on the lushly imagined, dreamy EQUINOX and the sumptuous DOLPHIN DANCE and then we get the gently drum-led NARDIS, the veritably glistening 0VERJOYED, the quietly fervent pace of STAR EYES along next.

Along next is the beautifully crafted THE BEGINNING OF YOUR DREAMS and the flourishing BLUE SOUL, and they are in turn backed neatly by the resplendent TELL ME A BEDTIME STORY, the playfully upbeat SOUTH BEACH, the recording rounding out on the atmopspherically-charged TO WISDOM THE PRIZE, coming to a close on an instrumental version of, and latterly a vocal rendition of ’TIL WE MEET AGAIN.

www.bobbaldwin.com

It’s Okay to Dream is Bob Baldwin’s contemporary jazz record with two tracks from Mozambique’s Jimmy Dludlu.

Whereas his other released-at-the-same-time album “Songs My Father Would Dig” is a straight-ahead jazz project, “It’s Okay To Dream” is a contemporary jazz outing and one which marks the first time in 24 years that an artist has dropped two new albums on the same day in two different genres of jazz.

Another unique aspect of Baldwin’s extensive repertoire is that he exclusively owns the rights to all but seven of his albums, which makes him one of a select few recording artists who can make that claim. That places Baldwin in the company of Michael Jackson, Prince, James Brown, Ray Charles and Bob James, each of whom were proponents of artists owning the rights to their own recordings.

“The cool jazz era of the 1960’s was my father’s era and the backdrop to my own music foundation. This is a lifetime project for me due to the fact that the piano sound and recording had to be on point and picking songs that were my father’s favorites. Jazz of the 1960’s was post-bebop and Avant Garde. It had a slight pop feel and was easy for the non-music listener. It was palatable and eventually became the launching pad for contemporary jazz in the 1970’s,” reveals Baldwin, who splits his time between Westchester, New York and Atlanta, Georgia.

1. Cape Town At Night (feat. Jimmy Dludlu)
2. Turn Up the Positive
3. That One
4. My Will (feat. Q. Coleman)
5. Malema, Pt. 1 (feat. Jimmy Dludlu)
6. Malema, Pt. 2 (feat. Jimmy Dludlu)
7. Dreamin the Dream
8. I’m Good (Thanks for Asking)
9. Get the Love (feat. Zoiea)
10. Complicit (feat. Rick Watford)
11. It’s Okay to Dream
12. ’Til We Meet Again (Contemporary Mix)

The album opens on the energetic Cape Town At Night (featuring the Mozambique-born musician Jimmy Dludlu, who combines traditional and modern elements of jazz to perfection) and the free-flowing Turn Up the Positive and then we get the atmospheric opulence that resides within That One, the all-embracing My Will (featuring Q. Coleman), and then Part’s 1 and 2 of a sprawling Malema (once again featuring Dludlu) are along next.

Along next is the gently grooved Dreamin the Dream and the vividly-hued I’m Good (Thanks for Asking), and they are in turn backed neatly by the funky Get the Love (feat. Zoiea), the light and breezy feel of Complicit (featuring Grammy, Dove & Stellar award winning guitarist/producer Rick Watford), the recording rounding out on the cultured balladry of It’s Okay to Dream, coming to a close on a contemporary mix of ’Til We Meet Again.

www.bobbaldwin.com

Up-and-coming Americana artist Evan Boyer is not a polished, perfect singer-songwriter plucked from the glossy pages of a music magazine: He’s the genuine article, making real and relatable music from the rough fodder of personal experience.

Approaching songwriting with a healthy dose of humanity, he draws inspiration from the raw edges of his own, admittedly flawed existence, offering the world a unique brand of country-leaning Americana that is down-to-earth, authentic, and emotionally compelling.

His songs are laid-back, everyman narratives in the vein of artists like Jason Isbell and Tom Petty, with an organic, natural sound. Nothing here is sleek or over-produced. “The way I see it: I’m kinda flawed…and that’s okay,” he says. “A lot of my songs are about messing up and dealing with the consequences. About how it’s okay to be flawed. We’re just people.”

Born in North Carolina and raised in a tiny, rural town in the Northeast, Boyer began making music in his early teens, inspired by alt-rock and pop-punk acts like The Wallflowers, Foo Fighters, and Blink 182. A self-taught guitarist, he fronted a range of punk and rock bands growing up before honing his acoustic chops for less rowdy gigs.

Now based in Dallas, Texas, he’s developed his own distinctive sound that blends the beautifully vulnerable with the brutally honest. Touring with his band Evan Boyer and the Remedy, Boyer’s style is informed by both local and national acts, including Dallas artist Joshua Ray Walker and country icon Jason Isbell.

In October 2022, Boyer released his debut single, “Hearts on Fire,” to streaming platforms everywhere. The self-produced track, recorded at the famed Audio Dallas studio (where Willie Nelson recorded Redheaded Stranger), showcased Boyer’s rootsy, resonant vocals and easy, Springsteenesque appeal.

After booking a statewide radio tour, he returned to the studio to work on what would eventually become his debut full-length album, this reviewed here today piece of musical wonderment, The Devil in Me.

1. Mockingbird & Monticello
2. Home to You
3. Cedar Creek
4. Burn the Ships
5. The Devil in Me
6. To Somers
7. The Fear
8. Sweet Mary

The album opens on the lonesome ode of Mockingbird & Monticello and the upbeat and spirited Home to You and then we get the free wheeling Cedar Creek, and then the lushly orchestrated Americana of Burn the Ships is brought forth.

Along next is the gently rambunctious The Devil in Me and that is in turn backed neatly by the impassioned, low slung rocker To Somers, the recording rounding out on the storied The Fear, closing on the dutifully heartfelt Sweet Mary.

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www.evanboyermusic.com

For those unaware, the first major project for the Metro songwriting and production team, the album also boasts credits for Motiv8, Cutfather & Joe and former PWL mainstays Phil Harding and Ian Curnow. On its original release in March 1997, the album hit #12 in the UK and was certified silver.

CD1 features the original album, freshly remastered for 2024 from the original studio tapes and updated to include the showstopping Eurovision version of ‘Ooh Aah… Just a Little Bit’. Bonus tracks include a previously unreleased ballad, ‘Waiting on Your Love’, the single mix of ‘Gimme Some Love’ and the floor-filling commercial 12” mixes of the other five singles.

Documenting the collision of mainstream pop and underground club culture in the 90s, CD2 contains an eclectic selection of reworks, ranging from full vocal club mixes and U.S. radio remixes to cooler fare from such luminaries as Hysteric Ego, DJ Tonka and Todd Terry, whose Acid Dub mix of ‘Every Time I Fall’ became a bona-fide speed garage anthem under the pseudonym of G.O.D. ‘Unlimited’. Across the 2CD set, no less than a dozen cuts were previously promo-only, vinyl-only or unreleased.

All six promo videos are released together for the first time on DVD, together with Gina’s 1996 Eurovision performance.

CD 1:
1. OOH AAH… JUST A LITTLE BIT [EUROVISION VERSION]
2. FRESH!
3. TI AMO
4. EVERY TIME I FALL
5. FOLLOW THE LIGHT
6. GIMME SOME LOVE
7. RHYTHM OF MY LIFE
8. MISSIN’ YOU LIKE CRAZY
9. I BELONG TO YOU
10. HIGHER THAN LOVE
11. IT DOESN’T MEAN GOODBYE
12. WAITING ON YOUR LOVE [Bonus Track]*
13. GIMME SOME LOVE [EUROBEAT MIX] [Bonus Track]
14. OOH AAH… JUST A LITTLE BIT [MOTIV8 EXTENDED VOCAL MIX] [Bonus Track]
15. I BELONG TO YOU [12” EXTENDED MIX] [Bonus Track]
16. FRESH! [BAYSIDE VOCAL CLUB MIX] [Bonus Track]
17. TI AMO [METRO’S ‘SUMMER OF LOVE’ CLUB MIX] [Bonus Track]
18. EVERY TIME I FALL [METRO’S EUROBEAT MIX] [Bonus Track]

* PREVIOUSLY UNRELEASED

Kicking off with the crazily spirited Euro pop, instant party classic, smash hit OOH AAH… JUST A LITTLE BIT [EUROVISION VERSION] and the pop-H-NRG bounce of the titular FRESH! and then comes the sultry Latin flow of TI AMO, the euphorically-charged ballad EVERY TIME I FALL, the sweeping NRG of FOLLOW THE LIGHT and then the original album continues onward with the Euro beats that propel GIMME SOME LOVE, the synth pop of RHYTHM OF MY LIFE, the lush ballad MISSIN’ YOU LIKE CRAZY, the album rounding out on the propulsive beats of I BELONG TO YOU, the frenetically-charged HIGHER THAN LOVE, closing on the anthemic IT DOESN’T MEAN GOODBYE.

Of the seven bonus tracks, stands out for me include the previously unreleased WAITING ON YOUR LOVE, the quite brilliant to still hear OOH AAH… JUST A LITTLE BIT [MOTIV8 EXTENDED VOCAL MIX], and both the FRESH! [BAYSIDE VOCAL CLUB MIX] and a stunning remix of TI AMO [METRO’S ‘SUMMER OF LOVE’ CLUB MIX].

CD 2:
1. OOH AAH… JUST A LITTLE BIT [SOUL SOLUTION RADIO VERSION] +
2. GIMME SOME LOVE [FITCH BROS. EXIT BOSTON RADIO EDIT] +
3. EVERY TIME I FALL [TODD TERRY’S POP MIX] +
4. HIGHER THAN LOVE [MOTIV8 PUMPTRONIC 12” MIX]
5. FRESH! [PHAT ’N’ PHUNKY VOCAL CLUB] +
6. GIMME SOME LOVE [METRO’S EXTENDED EUROBEAT MIX]
7. OOH AAH… JUST A LITTLE BIT [HYSTERIC EGO VOCAL] +
8. I BELONG TO YOU [DJ TONKA’S EXPECT THE UNEXPECTED MIX] +
9. TI AMO [ANDY & THE LAMBOY STRIP DUB MIX] +
10. EVERY TIME I FALL [GINA’S ACID DUB] +
11. HIGHER THAN LOVE [MOTIV8 RIFFMATIC DUB] +
12. GIMME SOME LOVE [ANDY & THE LAMBOY CLUB VOCAL MIX] *
13. OOH AAH… JUST A LITTLE BIT [SOUL SOLUTION MAIN VOCAL] +

* PREVIOUSLY UNRELEASED // + FIRST TIME ON CD

The second disc opens on the first, and to my mind, the best of three versions of OOH AAH… JUST A LITTLE BIT [SOUL SOLUTION RADIO VERSION], all making their debut on CD, and then come three more of GIMME SOME LOVE, with the ANDY & THE LAMBOY CLUB VOCAL MIX standing out for me, and also included are two cuts of EVERY TIME I FALL (the GINA’S ACID DUB mix being on fire), and amongst some others, a solitary, yet wondrously vibrant version of FRESH! [PHAT ’N’ PHUNKY VOCAL CLUB].

DVD:
1. OOH AAH… JUST A LITTLE BIT [PROMO VIDEO] 2. I BELONG TO YOU [PROMO VIDEO] 3. FRESH! [PROMO VIDEO] 4. TI AMO [PROMO VIDEO] 5. GIMME SOME LOVE [PROMO VIDEO] 6. EVERY TIME I FALL [PROMO VIDEO] 7. OOH AAH… JUST A LITTLE BIT [EUROVISION SONG CONTEST 1996 PERFORMANCE]

Each disc is housed in an individual card sleeve showcasing David LaChapelle’s iconic original photo shoot, presented in a clamshell outer box, with special print finish throughout and the original 1997 artwork lovingly refreshed. The 24-page booklet includes additional photos, new sleeve notes, full lyrics and an illustrated discography.

Gina G - Fresh! [Official Trailer]

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For those unaware, from Glenda Collins to Diane And The Javelins, during the 1960s Joe Meek worked with countless female artists, many of whom issued just one single, or perhaps never even made it that far. But, until now, the extent of this work, and the volume of material recorded, has remained buried among the Tea Chest Tapes. This unprecedented 3CD set explores that archive in-depth for the first time.

Featuring established names and previously unknown artists (and indeed, at least one artist whose identity is still unknown), ‘Do The Strum!’ shines another spotlight on Meek’s remarkable work with everything from the serene tones of Pat Reader to the gutsy soul of Glenda Collins and the proto girl-punk of The Sharades.

Spanning almost seven years, and mirroring the changing pop scene of the era, from pre-Beatle to powerful, stripped-down hard rock, this set recontextualises both Meek himself and the artists within. Lost classics and shoulda-beens pervade, and the imagination and production quality never drops below Joe Meek’s perfectionist standards. And, most importantly, it’ll all make you want to shake a tail feather!

Includes every known A and B side, material from the abandoned Live It Up! film soundtrack, singles that never were, auditions, demos and alternate versions of familiar recordings.

A must-have for fans and collectors of girl groups, Meek freaks young and old and students and historians of British pop. Don’t settle for the tried and tested story you’ll read in books and magazines – this is the real deal, restored, remastered and as fresh as the day it was recorded!

CD 1: The Singles
1 Eve Boswell – Sur Le Pont D’Avignon 2 Yolanda – With This Kiss 3 Carol Jones – Boy With The Eyes Of Blue (Meek Version) 4 Pat Reader – Cha Cha On The Moon 5 Glenda Collins – I Lost My Heart At The Fairground 6 Jenny Moss – Hobbies 7 The Cameos – Powercut (Alternate Vocal/Original Speed) 8 Pamela Blue – My Friend Bobby 9 Glenda Collins – If You’ve Got To Pick A Baby 10 Gunilla Thorn – Merry Go Round (Original Speed) 11 Jenny Moss – Please Let It Happen To Me (Film Version) 12 The Sharades – Dumb Head 13 Kim Roberts – I’ll Prove It 14 The Cameos – My Baby’s Coming Home 15 Glenda Collins – Baby It Hurts 16 Glenda Collins – Lollipop 17 Flip And The Dateliners – My Johnny Doesn’t Come Around Anymore 18 Valerie Masters – Christmas Calling 19 Glenda Collins – Johnny Loves Me 20 Judy Cannon – The Very First Day I Met You 21 Glenda Collins – Thou Shalt Not Steal 22 The Honeycombs – Something I’ve Got To Tell You (Stereo Mix) 23 Diane And The Javelins – Heart And Soul 24 Glenda Collins – Something I’ve Got To Tell You (Original Speed) 25 Glenda Collins – It’s Hard To Believe It.

Kicking off with Eve Boswell’s magic capturing foot tapper Sur Le Pont D’Avignon and Yolanda’s aching ballad With This Kiss, and they are followed by a track that was eventually released a month after Joe Meek left Triumph, Carol Jones’ vibrant Boy With The Eyes Of Blue (Meek Version), the aptly-titled Cha Cha On The Moon (Pat Reader), a track where Glenda Collins puts her broken heart on the Tilt-A-Whirl within I Lost My Heart At The Fairground and then we get the harmonica-driven Hobbies (Jenny Moss), the frantic Powercut (The Cameos), and both the magically emotive My Friend Bobby (Pamela Blue) and featuring a young Ritchie Blackmore on guitar, we next get Glenda Collins’ vibrant If You’ve Got To Pick A Baby.

We next get Swedish pop singer Gunilla Thorn’s Merry Go Round, the film version of Jenny Moss’ impeccable Please Let It Happen To Me, the rock n roll disco sound of The Sharades’ Dumb Head and then comes Kim Robert’s only single, and quite a Decca rarity I’ll Prove It, the spirited psych rocker My Baby’s Coming Home (The Cameos), then come two from big ballad singer Glenda Collins; the first being the pop-tastic Baby It Hurts the other being the infectious Lollipop.

The first disc then rounds out on the all-embracing Flip And The Dateliners cut My Johnny Doesn’t Come Around Anymore, the delightful holiday classic from Valerie Masters, Christmas Calling, and then we get the fervent shuffler Johnny Loves Me (Glenda Collins), the fab tune The Very First Day I Met You (from Melbourne’s very own Judy Cannon), a track that was ranked at #496 on the Radio London All-Time Top 500 list, Glenda Collins’ Thou Shalt Not Steal, the side rounding out on the languishing Something I’ve Got To Tell You (Stereo Mix) (The Honeycombs), one of Joe Meek’s final dabblings, Diane And The Javelins’ Heart And Soul and finally a double from Glenda Collins; the smooth production of both Something I’ve Got To Tell You (Original Speed) and It’s Hard To Believe It.

CD 2: 1960-1963
1 Eve Boswell – Around The Corner 2 Yolanda – Don’t Tell Me Not To Love You 3 Carol Jones – Cinderella Jones 4 Pat Reader – May Your Heart Stay Young Forever 5 Pat Reader – My Kind Of Love 6 Unknown – Say Baby 7 Unknown – Johnny Oh 8 Geri Harlow – Do The Strum 9 Geri Harlow – Mr Right 10 Billie Davis – Merry Go Round 11 Billie Davis – Don’t You Knock On My Door 12 Billie Davis – It’s Goodbye Then 13 Billie Davis – Mr Right 14 Billie Davis – I Think I’m Falling In Love 15 Glenda Collins – I Feel So Good 16 Glenda Collins – In The First Place (Original Speed) 17 Glenda Collins – Nice Wasn’t It (Original Speed) 18 Glenda Collins – Everybody’s Gotta Fall In Love (Original Speed) 19 Jenny Moss – Big Boys 20 Jenny Moss – Please Let It Happen To Me (Alternate Version) 21 Jenny Moss – Keep Away From My Baby’s Door 22 Jenny Moss – When My Boy Comes Marching Home Again 23 Jenny Moss – Every Little Kiss (Demo) 24 Kim Roberts – For Loving Me This Way 25 Kim Roberts – A Girl In the Crowd 26 Kim Roberts – Mr Right 27 Kim Roberts – Everytime 28 Kim Roberts – Love Can’t Wait 29 The Cameos – High, Low And Lonesomely (Alternate Version) 30 The Cameos – Where E’re You Walk 31 The Cameos – Only In Love 32 Pamela Blue – Hey There Stranger (Alternate Version).

The second disc opens on the Budapest, Hungarian born Eve Boswell and her robust Around The Corner and the flip side to her one-off MOR single, the Ceylon-born singer Yolanda and her soaring ballad Don’t Tell Me Not To Love You and the frenetically charged Cinderella Jones (Carol Jones), before we get two from Pat Reader; the simply divine pairing of both May Your Heart Stay Young Forever and My Kind Of Love, a couple of unknowns are then paraded in the form of the lush Say Baby and the impassioned Johnny Oh, before we are brought forth a duo from Geri Harlow; the robust Do The Strum and the Caribbean-hued Mr Right.

Along next are five from Billie Davis, and which kick off with the free flowing Merry Go Round, the licking Don’t You Knock On My Door, the lusciously orchestrated It’s Goodbye Then, a different, sterner cut entitled Mr Right and the pop-tastic I Think I’m Falling In Love, with a quartet from Glenda Collins along next; the shaking shimmer of I Feel So Good, the thigh slapper In The First Place (Original Speed), and both the foot-tapper Nice Wasn’t It (Original Speed) and the guitar twanging Everybody’s Gotta Fall In Love (Original Speed).

Up next is a quintet from Jennifer Victoria Jenny Moss (an English actress and singer born in Wigan, Lancashire), and which opens on expansive Big Boys, the romantic Please Let It Happen To Me (Alternate Version), the strident Keep Away From My Baby’s Door, the country chug of When My Boy Comes Marching Home Again, and a piano-led Every Little Kiss (Demo), then we get five from Kim Roberts; the pure pop sway of For Loving Me This Way, the luxuriant soul of A Girl In the Crowd, another Mr. Right cut, the production sturdy Everytime, and the unmistakable Joe Meek sound really comes to the fore on her Love Can’t Wait.

The second disc rounds out on the sketchy sounds of The Cameos’ High, Low And Lonesomely (Alternate Version), their cheesetastic Where E’re You Walk, and then we get their free flowingly pop lovely Only In Love and Pamela Blue’s wonderfully double tracked vocals that elegantly flow on her Hey There Stranger (Alternate Version).

CD 3: 1964-1966
1 Gunilla Thorn – Go On Then 2 Gunilla Thorn – Blueberry Hill 3 Gunilla Thorn – Keep Away From My Baby’s Door 4 Gunilla Thorn – Alright I’m In Love With You (Audition) 5 Gunilla Thorn – Come On 6 Gunilla Thorn – Who Started It 7 The Halos – When 8 The Halos – Don’t Ever Change 9 Lea And Chess – Little Star (Shine On us Tonight) 10 Lea And Chess – A Long Time Ago 11 Valerie Masters – He Didn’t Fool Me 12 The Sharades – Boy Trouble (Alternate Version) 13 The Sharades – Aren’t You Glad You’re You 14 The Sharades – Loneliness 15 Flip & The Dateliners – Please Listen To Me 16 Flip & The Dateliners – Bye Bye Baby Bunting 17 Flip & The Dateliners – Mama Didn’t Lie 18 Flip & The Dateliners – The Mod 19 Flip and The Dateliners – From Tomorrow 20 Flip (with Riot Squad) – It’s Hard To Believe It 21 June Harris – Ma I Miss Your Apple Pie 22 June Harris – Remember Your Love Belongs To Me 23 Judy Cannon – Hello Heartache (Alternate Version) 24 Glenda Collins – Been Invited To A Party 25 Glenda Collins – Paradise For Two (Mix Take 4) 26 Glenda Collins – My Heart Didn’t Lie (Original Speed/Pre Backing Vocals) 27 Glenda Collins – Don’t Let It Rain On Sunday 28 Denise Scott and The Soundsmen – Your Love Keeps Me Going 29 Denise Scott and The Soundsmen – Love Me Tonight 30 Diane And The Javelins – Whose The Girl 31 Diane And The Javelins – Cry Baby.

The third and final disc opens on a sextet from Gunilla Thorn, backed by The Outlaws, on the vibrant Go On Then leading the way, being followed by the swarthy Blueberry Hill, the fervent swirls and twirls that flow within Keep Away From My Baby’s Door, the impassioned Alright I’m In Love With You (Audition), and both the Hammond-hued Come On and the spirited Who Started It, and they are backed seamlessly by two from The Halos; the freely enjoyable When and their heartfelt Don’t Ever Change, before we get the closest sounding thing to Phil Spector’s recordings that Joe did, Lea And Chess’ Little Star (Shine On us Tonight) and A Long Time Ago, with the lovely He Didn’t Fool Me from Valerie Masters next.

Along next is there from The Sharades, opening on the dancefloor swirls and twirls off Boy Trouble (Alternate Version), the strident fare of Aren’t You Glad You’re You and the luxuriant Loneliness, and then we get six from Flip & The Dateliners, and which begin with the finger-snapper Please Listen To Me, the guitar-fed Bye Bye Baby Bunting, the swarthy hipsway of Mama Didn’t Lie, the twanging beauty The Mod, the all-embracing melodies of From Tomorrow, before one from Flip (with Riot Squad) and the elegant It’s Hard To Believe It is brought forth.

The third disc, and the collection as a whole, then rounds out with a couple from June Harris in the form of the engrossing Ma I Miss Your Apple Pie and the dutiful hipsway of Remember Your Love Belongs To Me, then we get one from Aussie songstress Judy Cannon, the lush Hello Heartache (Alternate Version), before a quartet from Glenda Collins; beginning with the rambunctious Been Invited To A Party (which was itself originally the b-side to the 1965 single, John D. Loudermilk’s Thou Shalt Not Steal), the lovely Paradise For Two (Mix Take 4), the extremely underrated My Heart Didn’t Lie (Original Speed/Pre Backing Vocals) and the Riot Squad backed Don’t Let It Rain On Sunday, all coming to a close on, quite possibly, pseudo stereo cuts of Denise Scott and The Soundsmen’s Your Love Keeps Me Going and Love Me Tonight, ending on the veritably shimmering rocker Whose The Girl and the animated Cry Baby from Diane And The Javelins.

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For those unaware, the world of hard rock and heavy metal attracts many larger-than-life characters, and few are larger than life than John McCoy. Although he has had a long and varied career, from Atomic Rooster to Zzebra, plus Samson and Mammoth, among others, McCoy is probably best known for playing bass with Gillan, the band he formed with Ian Gillan of Deep Purple.

For an all too brief few years, John McCoy could be relied upon to entertain millions whilst whilst holding down the bottom end with Gillan on Top Of The Pops, playing sold out world tours, or snapping bass guitars in half on Saturday morning kids TV shows like Tiswas.

When Gillan came to an abrupt and untimely end in 1982 following a packed Wembley Arena show, John McCoy formed the eponymous McCoy with an impressive line-up featuring former Gillan colleague Colin Towns on keyboards, Paul Samson of Samson on lead guitar, original Iron Maiden drummer Ron Rebel Matthews and vocalist Tony T-Bone Rees.

CD 1: McCOY EP (1982)
1 Oh Well!
2 Night Lights
3 The Sound Of Thunder
4 Temporary Threshold Shift
5 Because You Lied

THINK HARD (1985):
6 Freemind
7 The Demon Rose
8 Loving Lies
9 The Demon Rose
10 Heads Will Roll
11 Ride The Night
12 Fear Of The Morning
13 Jerusalem
14 Night Lights (Alternate Version) BONUS TRACK
15 Oh Well! (Single Version) BONUS TRACK

This set kicks off with the self-titled ‘McCoy’ EP (CD1), which starts with a rollicking cover of Fleetwood Mac’s ‘Oh Well’. The EP ends with ‘Because You Lied’, a song sadly aimed at the lead singer of his former band. Released in 1985, ‘Think Hard’ (CD1) was McCoy’s first full set, featuring ‘Hell to Play’, ‘Heads Will Roll’ and ‘Ride The Night’.

Best known for forming Gillan, the band, with ex Deep Purple front man, Ian Gillan, when they badly broke up after 4 years, with John McCoy going on to form McCoy (the band, and ultimately, Mammoth), he did indeed write and subsequently dedicate ‘Because You Lied’ to Ian Gillan, which might just be why I love the raw honesty of its lyrics so much.

As for their first long-player, 1985’s Think Hard, well, now we’re talking as it is a foot to the floor rocker that is, as they say, all killer with no filler!

Sure it was recorded on a low budget and admittedly with an average vocalist, but my goodness, they get the best out of both here. Especially on tracks such as Freemind, The Demon Rose, The Demon Rose, Heads Will Roll, and my own personal favorite, Ride The Night (although the bonus track Oh Well! is a great touch too!).

I shows itself not to be a flashy rocker, at times not even a tasteful rocker, but instead a blended mix of catchy rock riffs that satisfy with every lick.

CD 2: BRAINSTORM (1998)
1 Dreaming Of The Dead
2 Heavy Metal Cowboy
3 On And On
4 Outrageous
5 I Know A Place
6 Don’t Walk Away
7 Save Me
8 Steamtrain
9 Bad Luck
10 Josephine
11 Tarot Cards
12 The Prophets Of Doom
13 The List/Zoomusic/The List Continues
14 Disillusioned
15 Hawaiians 2 - Electrolux 1

‘Brainstorm’ (CD 2) was recorded at Studio 43 in New York. McCoy was joined by ex-Belladonna guitarist/vocalist Al Romano and drummer Mike Sciotto (From The Fire); Rainbow and Black Sabbath drummer Bobby Rondinelli guests on two tracks.

Being joined here by both ex-Belladonna guitarist/vocalist Al Romano and Mike Scoitto (From The Fire) really needs to be brought into the light as this trio brought out what was the culmination of two years work and it is the most perfect showcase for McCoy’s talents.

As well as being chock full of some truly great hard rock playing, where tracks can be sometimes introspective, sometimes wildly upfront, this is an album that always repays repeated investigation.

In truth, and rightly so, McCoy takes chances in the diversity of his material and style on this album. Meaning that Brainstorm will not be pigeon holed and is certainly not for the faint of heart, of course. Classic, ageless and without boundaries, McCoy the artist, the band and this album, in particular, are in the most incredible form of their collective careers.

CD 3: LIVE 1977
1 Are You Sitting Comfortably?
2 I’ll Be Round (Part One)
3 Will You Want Me?
4 I’ll Be Round (Part Two)
5 Big Brother
6 Telephone
7 Wrong Side of Time
8 Loser
9 Six Foot Under
10 Cathedral
11 Love Lace Lady
12 The Shuffle
13 Nasty Dogs and Funk Kings
14 Big Boss Man
15 So Low
16 I Wish I Was

The band Samson were a major influence on the New Wave Of British Heavy Metal at the end of the 1970s, and John McCoy was an important figure for the band, playing bass, producing and co-writing their 1979 debut album. Prior to that, the band McCoy, with Paul Samson and drummer Roger Hunt, were regulars on the London and South East gigging circuit. Captured at the height of new wave, ‘Live 1977’ (CD 3) acts as a raw, rough and ready antidote to the nascent punk scene that gripped the UK at that time.

Recorded on July 11th, 1977 at The Target in Reading, Berkshire, this is the only surviving record of this power trio making this third CD an indispensable piece of rock history, and arguably one of the touchstones of NWOBHM, as several of the songs would eventually form the aforementioned Samson debut album; ‘Big Brother’, ‘Six Foot Under’, ‘The Shuffle’, ‘Wrong Side of Time’. Despite the challenging sound quality, you can still sense something special emerging.

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For those unaware, The Good, The Bad & The 4 Skins [Expanded Edition] is a re-issue of the debut album by leading Oi! band The 4 Skins which spent a month in the UK National Charts on its release in March 1982 as well as topping the Independent Chart.

The release features all of the recordings made by the Panther / Jon Jacobs / Hoxton Tom / Pete Abbot incarnation of the band and includes the Indie No.7 charting single ‘Yesterdays Heroes’ plus the ‘Low Life’ 45.

The booklet also features lyrics to all the songs plus many rare previously unpublished pictures from the original album photo session.

OK, taking it from the top, hailing from London’s East End, The 4 Skins were there at the very start of the Oi! movement, making their debut on the seminal Oi! The Album. They also appeared on the follow-up Strength Thru Oi! and Carry On Oi! compilations, as well as issuing the ferocious debut One Law For Them 45, all whilst fronted by the legend that is Gary Hodges.

When he departed at the tail end of ’81 the bands roadie, Panther, took over and did a fine job on the Yesterdays Heroes and Lowlife singles as well as the essential long player The Good The Bad The 4 Skins. Panther then too decided to move on and into the breach stepped one Roi Pearce, ex of the Last Resort, who took charge of the band on the A Fistful Of 4 Skins and From Chaos To 1984 albums.

Luckily, and as fans can attest to, the line-up changes never diminished the great songs no matter who sang them ACAB, Sorry, 1984 Evil, Chaos, Wonderful World, etc. So all hail the glorious Oi! anthems from a group regularly viewed as the ultimate Oi! band.

As for this album, well, there’s little to complain about here, especially on this brilliantly expanded single-disc edition, as nearly every song brings forth incendiary tracks that hold their age perfectly, and blaze out in all their primal glory, one after another.

Key cuts abound, but the seven live tracks that closed the debut album, and here lurk in the middle of the disc, are your entry into one of the most exciting gigs you’ll ever hear!

Studio:
1. Plastic Gangsters
2. Jealousy
3. Yesterday’s Heroes
4. Justice
5. Jack The Lad
6. Remembrance Day
7. Manifesto

Live:
8. Wonderful World
9. 1984
10. Sorry
11. Evil
12. I Don’t Wanna Die
13. A.C.A.B.
14. Chaos - Studio
15. One Law For Them

Bonus Tracks:
16. Dambusters (as JJ Allstars)
17. Yesterdays Heroes (Single Version)
18. Justice (Single Version)
19. Get Out Of My Life
20. Low Life
21. Bread Or Blood
22. Norman
23. Seems To Me
24. Merry Xmas Everybody

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For those unaware, originally released in 1994, Talk was the 14th studio album by progressive legends Yes - and the last to feature guitarist Trevor Rabin and keyboard player Tony Kaye.

A ground-breaking project, ‘Talk’ was one of the very first albums to be recorded and edited entirely digitally, without using traditional audio tape.

To celebrate its 30th anniversary, Spirit of Unicorn Music re-issue this masterpiece of progressive rock with extensive sleeve notes written by Jerry Ewing, editor of PROG magazine who spoke exclusively to Trevor Rabin and Jon Anderson about their recollections of writing and recording this classic.

All format versions are fully remastered by renowned engineer Andy Pearce. Highly sought after among fans, original versions of the vinyl release exchange hands for over £100.

The album has been “out of print” for some considerable time and is much sought after by fans and collectors.

1. The Calling
2. I Am Waiting
3. Real Love
4. State Of Play
5. Walls
6. Where Will You Be
7. Endless Dream
8. Silent Spring (Instrumental)
9. Talk
10 Endless Dream

In truth, Talk is a Yes album even Yes fans are hard-pressed to defend (and Lord, did they try at the time). It was made by a line-up of the band they called YesWest, because apparently South Africa is West. This was the era that inspired the Dead Milkmen to write a song about them. That said, I actually like it!

So yes, this is still an AOR-heavy album, but it does have a few things going for it. First off, the production on here is surprisingly tight. The music feels large and everything sounds pretty decent. I would have liked to have heard the keys higher in the mix, but that could also be largely do to the fact that Tony Kaye doesn’t really get many changes to shine on here.

The other thing this album has is a number of pretty gosh-dang good songs. In particular, the three opening tracks and the 15-minute closer, Endless Dream. While things like The Calling, are more just good-quality AOR tunes, it’s the closer that might make fans of Yes perk up. While it certainly isn’t recapturing the prog magic from yesteryear, it does actually offer up some quality neo-prog in ways that are captured more strongly on The Ladder.

So, if the album Fly From Here was the last time we would get that classic Yes magic on an album, Talk is the last start-to-finish album from Yes that comes across as a strong overall experience. You get bits and pieces of brilliance on The Ladder, Magnification, etc, but nothing as good as what Talk offers.

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For those unaware, as a key member of Tangerine Dream, Peter Baumann’s contribution was felt on the classic albums released by Virgin Records issued between 1974 and 1976, ‘Phaedra’, ‘Rubicon’, ‘Ricochet’ and ‘Stratosphere’.

In 1976 he embarked on a solo career with his classic work ‘Romance ‘76’, recorded in July and August that year in Berlin and Munich. The result was a remarkable album that is now held in huge esteem by aficionados of German electronic music.

His next work as a solo artist was the equally remarkable and ground-breaking album ‘Trans Harmonic Nights’, recorded in Berlin between July 1978 and January 1979, a release which per-empted and influenced the protagonists of synthesizer-based music that would burst forth in the 1980s.

His third and final album for Virgin Records was ‘Repeat Repeat’, which saw him adopt a more song-based approach to his writing, stylistically akin with the prevailing mood of the early 1980s. Recorded in New York and at Compass Point studios in Nassau in the Bahamas, ‘Repeat Repeat’ was co-produced by Baumann and Robert Palmer.

Phase By Phase – The Virgin Albums [3CD] is the first time all of Peter Baumann’s solo works issued by Virgin Records have been gathered together in one collection.

CD 1: Romance ’76
1. Bicentennial Present
2. Romance
3. Phase by Phase
4. Meadow of Infinity (Part One)
5. The Glass Bridge
6. Meadow of Infinity (Part Two)

With blatant references to Rubycon, Ricochet, and Stratosfear popping up in various places, it’s actually Baumann’s arrangements here that have an added clarity and directness that drive the music more than one would have imagined.

Thus on a song like Phase by Phase, the results can seem circumspect, and too much open space allows the listener’s attention to seep out through the cracks. But the rest of the record finds Baumann expertly controlling what he wants the listener to hear.

For a further example, Romance introduces new sounds carefully and for calculated effect, a style that would reappear on the Baumann-produced Grosses Wasser by Cluster. This and the opening Bicentennial Present are remarkably accessible for electronic music from the ’70s - the latter especially feels like the best parts of Stratosfear distilled - but never at the expense of sounding trite.

Baumann shows off different styles of electronic music on the first three tracks, only to challenge the listener’s expectations all over again with the semi-classical Meadow of Infinity. Mixing orchestral instruments (cellos, human voices, percussion) and electronics, the composer creates a tone poem using only the sounds he needs to describe the action.

CD 2: Trans Harmonic Nights
1. This Day
2. White Bench and Black Beach
3. Chasing the Dream
4. Biking Up the Strand
5. Phaseday
6. Meridian Moorland
7. The Third Site
8. Dance at Dawn

Baumann’s second solo album, released in 1978 following his departure from Tangerine Dream, covers much of the same ground as his first solo album, meaning it is mostly short, unfussy, minimalist melodic synthesizer pieces with perky sequencing.

The main addition to the mix is a vocoder which Peter makes liberal use of in several of the tracks. To be honest, the music on offer here will be immediately familiar in style to anyone who’s heard Tangerine Dream’s Stratosfear, Encore or all those bootlegs of their lives sets from back when, to the point where it makes me wonder why Baumann felt he had to leave the band to make this stuff.

I mean, it can hardly have been so-called musical differences (indeed he even can be heard some distinctly Edgar-ish fuzzed guitar in places), but regardless, the music is timeless.

CD 3: Repeat Repeat:
1. Repeat Repeat
2. Home Sweet Home
3. Deccadance
4. Real Times
5. M.A.N. Series Two
6. Brain Damage
7. Kinky Dinky
8. Daytime Logic
9. Playland Pleasure
10. What is Your Use

Baumann returned in 1981 with his third solo album, Repeat Repeat. After two well received electronic/progressive/instrumental albums in the late seventies, Repeat Repeat, produced by Robert Palmer along with Baumann, is a straight forward electro-New Wave album.

Indeed, this new venture has Baumann providing vocals on all tracks with a style similar to Gary Numan and icy electronics that recall Kraftwerk and early John Foxx. The title track was given a single release and music video in the UK, which I vividly recall, having grown up in England.

And by the time the album was released in the USA, the running order was shuffled and a couple of songs had been remixed. Daytime Logic was released as a single and became an underground dance hit.

In closing, and with the album title Repeat Repeat, luckily he didn’t actually bring forth another Ricochet here, or God forbid, another Romance ’76 album! For me, the best track is definitely Playland Pleasure, itself being a rather catchy and addictive cut than most all the others: and one that we can even lovingly recognize its elements inspired by prior Tangerine Dream albums.

For those unaware, this is the ninth duo album by Natsuki Tamura and Satoko Fujii, the first being How Many in 1996. The six pieces are improvised here on Aloft and it is clear to see that the duo has made a career out of improvisation.

As with their previous eight albums, the album is full of creativity and surprises. Fujii and Tamura’s duo performance has been described as telepathic and so it goes without saying that there is a mutual trust and a curiosity that inspires each other.

The two play with serenity, clash with a roaring sound, and engage in a unique dialogue of witticisms, sometimes in harmony with elegance and fluidity, creating music. At the same time, however, what is surprising is the story of the music.

For the performance is a series of seemingly intangible improvisations, but Fujii’s unparalleled talent for composition leads the audience to believe that there is a conjunctive piece of music, and that what comes forth is planned, laid out. But that is as far from the truth as it could be.

1. Migration
2. Wintering
3. Traveling Bird
4. Lifting
5. On The Flyway
6. Waiting For Dawn

The recording opens on the veritably crystalline Migration and the jaunty, scratchy ambiance of Wintering and then we get the statically-charged, sharply-contoured Traveling Bird, the veritably cinematic Lifting, the album closing on the organically cultured On The Flyway and the stoically-chambered Waiting For Dawn.

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Official Satoko Fujii Website

For those unaware, PAKT, a true super group of master musicians merging and colliding new music in the realms of progressive rock, electric jazz, experimental, ambient, psychedelic and beyond, is an experience as much as a musical project.

An IMAX film for the ears, PAKT takes its listeners on an improvised sonic voyage with no preconceived destination, minimal pre-planning and little use for forms and conventions. Rare is the musician who can thrive in such a spontaneous environment, but Percy Jones (fretless bass guitar), Alex Skolnick (guitar), Kenny Grohowski (drums) and Tim Motzer (guitar and electronics) are all up to the task.

Armed with enough tastefully used effects to stock a small music store, Motzer and Skolnick create sounds so atmospheric and ethereal that one might not guess their source is a guitar. Meanwhile, Grohowski and Jones approach their instruments in textural manners that seamlessly intertwine with each other and the quartet as a whole.

Ergo, the music here on their brand new live album No Steps Left To Trace runs the gamut from highly sensitive to intense, with all four musicians’ listening skills so strong that their collective playing is as cohesive as it is unpredictable.

Welsh bassist Jones (now a New York resident) is known for his tenure in the legendary jazz fusion group Brand X (whose classic lineup included drummer Phil Collins, yes that one) and extensive studio work (especially with Brian Eno). Skolnick is a diverse improviser whose jazz and world playing and instrumental associations (including bass virtuosos Stuart Hamm and Michael Manring) forms a Jeckyll & Hyde dynamic with his high profile as lead guitarist of the metal band Testament.

Grohowski’s many recent associations include John Zorn, a reincarnated version of Brand X and masked avant-metal outfit, Imperial Triumphant. Motzer has a long background in free improvisation, including the bands Bandit65 (with fellow guitarist Kurt Rosenwinkel) and Orion Tango, plus many other recorded collaborations for his 1k Recordings label.

Before this album, all of PAKT’s releases had been taken from live performances. This studio session took place during the band’s East Coast tour in December, 2021. Primed from several successful shows in Upstate New York (including musician Daryl Hall’s thriving venue in Pawling, NY, Daryl’s House), the band took the day off in the Catskills Mountains, where they tracked live at NRS Studios.

NRS is located in the home of musician/recording engineer Scott Petito, whose studio has hosted such luminaries John Scofield, Chick Corea and James Taylor. The PAKT musicians set up in a circle, all in the same room and performed, just as they would at a live concert. This began in the late morning and continued past dusk. By day’s end, they had accumulated a bunch of material — quite a nice document of where the band was musically back in 2021.

Live, of course, they have an audience that takes the ride with them. It is a real shared experience in that regard. Motzer curated five such journeys for the Live CD, one from Buffalo, three from NYC (Nublu), and one from Philadelphia.

Adding the live album to the double release shows the growth and evolving chemistry in PAKT from the 2021 studio recording to the newer live recordings in 2023. It’s a nice contrast with a lot of great interplay and listening happening from all the players. It also makes the album an excellent introduction to the band’s music for anyone new to it, as well as a fine addition to their discography.

1. No Steps Left To Trace, Part 1 (21:11)
2. No Steps Left To Trace, Part 2 (15:34)
3. On The Other Side, Part 1 (11:12)
4. Wormhole (1:44)
5. On The Other Side, Part 2 (9:29)
6. Spontaneous Combustion (9:58)
7. The Ghost Mills (9:21)
8. NYC III (18:06)
9. NYC IV (11:14)
10. NYC V (7:32)
11. Solar Myth (22:34)

This wonderfully musical abstract new live recording opens on No Steps Left To Trace, the fluidly rhythmic Part 1 and the more jaggedly industrial Part 2 along with On The Other Side, and the frenetically flirtatious Part 1, and they are backed by the digital hubbub of the short, but sweet Wormhole, Part 2 of the melodically-structured, yet playfully avant-garde On The Other Side, the free-flowing Spontaneous Combustion, and they are then followed seamlessly by the, at first, hauntingly ethereal, latterly frantically sculpted The Ghost Mills, the gentle rhythms that drive NYC III, the all-embracing stillness of pulse that drives NYC IV, the propulsive blues/prog that is NYC V, the recording coming to a close on the spatially aware guitar jam that is the 22 minute Solar Myth.

Musicians:
PERCY JONES - bass guitar
ALEX SKOLNICK - guitars
KENNY GROHOWSKI drums
TIM MOTZER - guitars, electronics

Official Purchase Link

For those unaware, Cherry Red Records are delighted and proud to announce the newly remastered and expanded release of Howard Jones’ second album “Dream Into Action”.

Released in March 1985, “Dream Into Action” reached No.2 in the UK Album Charts and achieved Gold Album status. Like its pre-decessor “Human’s Lib”, “Dream Into Action” contained four Top 20 hit singles; ‘Things Can Only Get Better’ reached No.6, ‘Look Mama’ at No. 10, ‘Life In One Day’ at No.14 and ‘No One Is To Blame’ at No.16.

In addition to these four Top 20 Hit singles, the original CD version of “Dream Into Action” also contained a bonus track, namely Howard’s hit single from the previous year - ‘Like To Get To Know You Well’ - which reached No.4 in the Singles Chart.

“Dream Into Action” also enjoyed massive international acclaim and success; particularly in the USA where it reached No.10 in the Billboard Album charts achieving Platinum status. It spawned three Billboard Top 20 hit singles including ‘Things Can Only Get Better’ at No.5, ‘Life In One Day’ at No.19 and a re-recorded version of ‘No One Is To Blame’ featuring Phil Collins on backing vocals and drums (produced by Hugh Padgham), which gave Howard his biggest ever US hit single reaching No.4.

As well as achieving great success in the UK (# 1) and USA, “Dream Into Action” and the various singles taken from it also enjoyed tremendous success internationally in such countries as Canada, New Zealand, Australia and throughout most of Europe.

Disc 1: Blu-Ray - 5.1 Surround Sound Mix and 96/24 LPCM 2024 New Stereo Mix
1. Things Can Only Get Better
2. Life In One Day
3. Dream Into Action
4. No One Is To Blame
5. Look Mama
6. Assault And Battery
7. Automaton
8. Is There A Difference?
9. Elegy
10. Specialty
11. Why Look For The Key
12. Hunger For The Flesh
13. Bounce Right Back
14. Like To Get To Know You Well
15. Things Can Only Get Better [Dolby Atmos Mixes]
16. Like To Get To Know You Well [Dolby Atmos Mixes]

Howard Jones’ second album is very different from his brilliant Human’s Lib, as it doesn’t really rely quite as much on synthesizers, although they are still very dominant. But in no way is Dream Into Action much weaker, of that I think we can all attest to.

Again, Jones has released an uplifting, encouraging and melodious album, concentrating on people; their feelings and emotions. The first two songs, “Things Can Only Get Better” and “Life In A Day”, typify this perfectly, with such lyrics as “Try and enjoy the here and now, the future will take care of itself somehow/Grass is never greener over there”.

Other songs, that focus on troubled lives, include “Elegy” and “Specialty” (“’bout time you realized, you are a specialty, there is no-one like you / Spend your life worrying ‘bout what you could have been, can’t you like being you.”).

“Dream Into Action” and “Look Mama”, the latter about an overbearing parent, are two other fine tracks, while Jones does include hard-hitting songs here, including “Hunger For The Flesh” and the magnificent “Assault and Battery”, arguably his best song of all.

OK, sure, the brilliant first half of the record is followed by a slightly lesser second, but overall, this is another outstanding release from a very talented man, and possibly the one of his which has aged the best.

Disc 2: CD - 2024 New Stereo Mix
1. Things Can Only Get Better 2. Life In One Day 3. Dream Into Action 4. No One Is To Blame 5. Look Mama 6. Assault And Battery 7. Automaton 8. Is There A Difference? 9. Elegy 10. Specialty 11. Why Look For The Key 12. Hunger For The Flesh 13. Bounce Right Back 14. Like To Get To Know You Well

The Blu-Ray disc contains a 5.1 Surround Sound mix and 96/24 LPCM 2024 New Stereo Mix of the entire ‘Dream Into Action’ album plus bonus tracks ‘Bounce Right Back’ and ‘Like To Get To Know You Well’.

The 5.1 Surround Sound Remix and 96/24 LPCM 2024 New Stereo Mix created from the original multi-track mastertapes by the original ‘Dream Into Action’ album engineer Stephen W Tayler.

The Blu-Ray disc also contains Dolby Atmos mixes of ‘Things Can Only Get Better’ and ‘Like To Get To Know You Well’ created from the original multi-track mastertapes by Bob Clearmountain.

The CD contains the 2024 New Stereo Mix of the entire ‘Dream Into Action’ album plus bonus tracks ‘Bounce Right Back’ and ‘Like To Get To Know You Well’.

Packaged in a digipack with a fully illustrated 12 page CD booklet containing brand new interviews with Howard Jones and Stephen W Tayler in conversation with Anil Prasad discussing the 5.1 Surround Sound Remix and 96/24 LPCM 2024 New Stereo Mix.

Official Purchase Link

For those unaware, Cherry Red Records are delighted and proud to announce the newly remastered and expanded release of Howard Jones’ second album “Dream Into Action”.

Released in March 1985, “Dream Into Action” reached No.2 in the UK Album Charts and achieved Gold Album status. Like its pre-decessor “Human’s Lib”, “Dream Into Action” contained four Top 20 hit singles; ‘Things Can Only Get Better’ reached No.6, ‘Look Mama’ at No. 10, ‘Life In One Day’ at No.14 and ‘No One Is To Blame’ at No.16.

In addition to these four Top 20 Hit singles, the original CD version of “Dream Into Action” also contained a bonus track, namely Howard’s hit single from the previous year - ‘Like To Get To Know You Well’ - which reached No.4 in the Singles Chart.

“Dream Into Action” also enjoyed massive international acclaim and success; particularly in the USA where it reached No.10 in the Billboard Album charts achieving Platinum status. It spawned three Billboard Top 20 hit singles including ‘Things Can Only Get Better’ at No.5, ‘Life In One Day’ at No.19 and a re-recorded version of ‘No One Is To Blame’ featuring Phil Collins on backing vocals and drums (produced by Hugh Padgham), which gave Howard his biggest ever US hit single reaching No.4.

As well as achieving great success in the UK (# 1) and USA, “Dream Into Action” and the various singles taken from it also enjoyed tremendous success internationally in such countries as Canada, New Zealand, Australia and throughout most of Europe.

Disc 1: Blu-Ray - 5.1 Surround Sound Mix and 96/24 LPCM 2024 New Stereo Mix
1. Conditioning
2. What Is Love?
3. Pearl In The Shell
4. Hide And Seek
5. Hunt The Self
6. New Song
7. Don’t Always Look At The Rain
8. Equality
9. Natural
10. Human’s Lib
11. Always Asking Questions
12. New Song (Farmyard Version)
13. China Dance
14. What Is Love? [Dolby Atmos Mixes]
15. New Song (Farmyard Version) [Dolby Atmos Mixes]
16. Hide And Seek [Dolby Atmos Mixes]

Howard Jones, along with Nik Kershaw, turned up in 1984 to fill a void of British male pop stars at that time. Both released albums with similar titles and both were direct competitors. The first of those records, Human Racing by Kershaw, is one of the greatest albums ever made. The other, Humans Lib, is still very worthy and, in some ways, matches the newborn enthusiasm that brought Human Racing cruising into our lives back then.

Jones was a synth wiz and a bit of a hippy (this reflects heavily in the albums lyrics). The synths are very nicely arranged here and unlike a lot of ’80s pop records, there is more to be found than just the singles. What is Love and New Song are both brilliant, but I also love tracks like Conditioning, Pearl in the Shell, Don’t Always Look At The Rain and the title track.

The main criticism though here is that being a hippy, he can get a bit pretentious in his lyrics, but I can look past this. The synths can also get a bit too heavy occasionally at times, but that doesn’t mean that the album, overall, isn’t thoroughly enjoyable, as it is most definitely still to this day one his best.

In closing, the album’s big hit New Song is Howard trying to motivate his friends to throw off their mental chains, and indeed, with its wriggly, joyous Hammond organ touches and the rather cute melody that manages to outdo Howard’s voice in terms of eager-eyedness, you totally buy into the spirited nature of whatever mental stimulation is supposed to be arising here.

Oh, and the album opener Conditioning is beautifully bouncy, speedy electropop, with sprightly staccatos, bleeps and bloops and off-kilter percussion and the almost gothic ambient-pop of Hide and Seek is dutifully enigmatic, bordering on darkwave territory, and to my mind remains Howard’s finest moment.

Disc 2: CD - 2024 New Stereo Mix
1. Conditioning 2. What Is Love? 3. Pearl In The Shell 4. Hide And Seek 5. Hunt The Self 6. New Song 7. Don’t Always Look At The Rain 8. Equality 9. Natural 10. Human’s Lib 11. Always Asking Questions 12. New Song (Farmyard Version) 13. China Dance

The Blu-Ray disc contains a 5.1 Surround Sound Mix and 96/24 LPCM 2024 New Stereo Mix of the entire ‘Human’s Lib’ album plus bonus tracks ‘Always Asking Questions’, ‘New Song (Farmyard Version)’ and ‘China Dance’.

The 5.1 Surround Sound Remix and 2024 New Stereo Mix created from the original multi-track master tapes by the original ‘Human’s Lib’ album engineer Stephen W Tayler.

The Blu-Ray disc also contains Dolby Atmos mixes of ‘What Is Love?’, ‘Hide And Seek’ and ‘New Song (Farmyard Version)’ created from the original multi-track master tapes by Bob Clearmountain.

The CD contains the 2024 New Stereo Mix of the entire ‘Human’s Lib’ album plus bonus tracks ‘Always Asking Questions’, ‘New Song (Farmyard Version)’ and ‘China Dance’.

Packaged in a digipack with a fully illustrated 12-page CD booklet containing brand new interviews with Howard Jones and Stephen W Tayler in conversation with Anil Prasad discussing the 5.1 Surround Sound Remix and 96/24 LPCM 2024 New Stereo Mix.

Official Purchase Link

For those unaware, Fernando Perdomo is a powerhouse of the LA music scene who lives and breathes music LA Weekly dubbed him as “The millennial answer to Todd Rundgren.” A veteran at 37, he has made a name for himself as an in-demand producer, singer/songwriter, and multi-instrumentalist.

He is a featured guitarist in the Netflix documentary "Echo In The Canyon" where his is seen backing up Jakob Dylan, Fiona Apple, Brian Wilson, Norah Jones, Regina Spektor, Cat Power, and Jade Castrinos. He is also played on every track on the official soundtrack album of the film along with Eric Clapton, Neil Young, Stephen Stills, Josh Homme as well as the aforementioned artists.

Fernando is an acclaimed recording artist with releases in the Singer Songwriter, Rock, Progressive Rock, and Classical genres. His Out to Sea trilogy was released on Cherry Red Records with album covers by Genesis artist Paul Whitehead. His album Zebra Crossing was recorded at Abbey Road Studios in London. He has opened for Todd Rundgren, Leon Russell, Filter, Adrian Belew, and Kasim Sulton.

His brand new album is entitled “Self” and sees Perdomo take on all writing, performing and production duties himself, being solely responsible for the creation, evolution and recording of every note and lyric on the album. Perdomo comments “‘Self’ is not just an album. It is a definition of who I am. It is the most complete statement I have ever made as a recording artist.”

1. Searching For Myself (4:12)
2. Everything Leads To Now (2:55)
3. Optimist Prime (2:15)
4. Absolute Silence (2:23)
5. Who I Really Am (4:08)
6. All Of Us Under The Same Moon (2:21)
7. Self (19:43)

The Singer/Songwriter, and Multi-Instrumentalist opens his wonderful new solo album on the languishing Searching For Myself and the dulcet train track-embodied flow of Everything Leads To Now, and they are followed by the scintilatingly jaunty Optimist Prime, the veritably translucently fluttering Absolute Silence, and then we get brought forth the airy Who I Really Am, the recording rounding out on the acoustically-imbibed All Of Us Under The Same Moon, closing on the all-embracing titular, and near 20 minute long Self.

Official Purchase Link

For those unaware, best known as long time guitarist, vocalist and collaborator in the Greg Johnson Band, Ted Brown releases his third album Solstice Canyon Loop. Tracked at Plyrz Studio in Santa Clarita CA June 27-28 2020, the songs tell stories of Teds journey from his hometown of Auckland NZ to his current home of Los Angeles CA where he’s lived since 2002.

“Those months, the pandemic, had me reminiscing and transported back in time like I think it did for so many people and the songs I wrote are mostly a product of that period. Moments from the past came back to me in vivid but fleeting pieces, and I found that I’d mix up things that happened in the U.S. with experiences from my hometown! In the end, the songs take place in either the NZ of my youth, or the 21st Century in SoCal!”

Calling on members of his 70’s Country cover band, The Electric Fields, Ted assembled some of his favorite L.A. guys to play on the record. Notably, Dusty Wakeman on Bass (Dwight Yoakam, Lucinda Williams, Buck Owens), Mark Hart on Keys (Crowded House, Supertramp), Joel Martin on Guitar (Grateful to the Core, Pearl), Tim Walker on Pedal Steel (Glen Campbell, Jimmy Webb, The White Buffalo) and CalArts Alum and musician extraordinaire Rob Anderson on Drums. Ben King, Teds Greg Johnson bandmate added sweet harmonies from his studio in NZ.

1. Stops
2. Better at That
3. Mr O’Neil
4. Dark Side of Memory Lane
5. Come Back
6. Little Running
7. Sugar and Daylight
8. Lauraly

This invigoratingly ambient new album opens on the forthright Stops and the languishing Better at That and then we are brought forth the rocker Mr O’Neil and the low slung Dark Side of Memory Lane.

Along next is the gritty country-rocker Come Back and the acoustically-imbibed Little Running, the album rounding out on the playfully flirtatious ditty Sugar and Daylight, coming to a close on the harmonica-driven ballad Lauraly.

“I was fortunate to have NZ Recording Engineer Neil Baldock living and working in L.A. at the time and based at Jim Scotts Plyrz studio. I knew he was planning to return home so I really wanted to get the songs down. Fortunately, Plyrz is a huge space (ideal for social distancing) and basically a playground of instruments and gear where we were able to track the tunes live, including vocals. We did it the old fashioned way with everyone playing together in the room.”

“We tracked seven and I recorded the last song, Lauraly, at my home studio in West L.A. The names have, in some cases, been changed or abbreviated but never to protect the innocent, mostly ‘cos they ‘sang’ better. Post production was a trans-pacific process but I’m stoked that we got there in the end (thanks Neil!).”

“I’m really proud of this record and everyone who was involved. Hope you enjoy it!”

Musicians:
Ted- Vocals, Guitar, Harmonica
Joel Martin- Guitar, Lap Steel Guitar
Mark Hart- Keyboards
Tim Walker- Pedal Steel Guitar
Dusty Wakeman- Bass
Robert Anderson- Drums
Ben King- Background Vocals

Official Purchase Link

For those unaware, Tianqi Du began his journey with the piano under the tutelage of Professor Chen Xueyun at Guizhou Normal University when he was five years old. This early immersion into music led him to achieve numerous awards in provincial and national piano competitions. By the age of ten, he had held his own solo recital.

Subsequently, he studied under the renowned piano educator, Professor Dan Zhaoyi. His dedication bore fruit as he garnered awards at international stages, including the Hong Kong TOYAMA Piano Competition, WenHua Award China Youth Piano Competition, German Steinway Piano Competition, German Wiesbaden Youth Piano Competition, and the U.S. San Jose International Youth Piano Competition.

In 2016, Du further expanded his horizons by attending the New England Conservatory in the United States, refining his skills under Professor Meng- Chieh Liu. Returning to his roots, Du’s recent years have been dedicated to the performances of Johann Sebastian Bach. His deep connection with Bach’s music culminated in his 2022 debut album under the esteemed Naïve Records, featuring the iconic Goldberg Variations.

Continuing to showcase his exceptional understanding of Bach’s music, his brand new album is entitled Bach: Keyboard Concertos and he is joined by Academy of St Martin in the Fields and Jonathan Bloxham.

1. Keyboard Concerto No. 1 in D minor, BWV 1052~I. Allegro
2. Keyboard Concerto No. 1 in D minor, BWV 1052~II. Adagio
3. Keyboard Concerto No. 1 in D minor, BWV 1052~III. Allegro
4. Keyboard Concerto No. 4 in A major, BWV 1055~I. Allegro
5. Keyboard Concerto No. 4 in A major, BWV 1055~II. Larghetto
6. Keyboard Concerto No. 4 in A major, BWV 1055~III. Allegro ma non tanto
7. Keyboard Concerto No. 3 in D major, BWV 1054~I.
8. Keyboard Concerto No. 3 in D major, BWV 1054~II. Adagio e piano sempre
9. Keyboard Concerto No. 3 in D major, BWV 1054~III. Allegro
10. Keyboard Concerto No. 5 in F minor, BWV 1056~I
11. Keyboard Concerto No. 5 in F minor, BWV 1056~II. Largo
12. Keyboard Concerto No. 5 in F minor, BWV 1056~III. Presto

The collection opens on Keyboard Concerto No. 1 in D minor, BWV 1052~I. Allegro, a sprightly piece that then gives way to the more stoic Adagio, culminating in the more profound swirl and twirl of Allegro, and then we are brought forth Keyboard Concerto No. 4 in A major, BWV 1055~I, which begins with the opulent Allegro, the more ornately sculpted Larghetto, ending on the flourishing Allegro ma non tanto.

Along next is Keyboard Concerto No. 3 in D major, BWV 1054~I, which opens in a most bountiful way, and is followed by the more restrained, honed Adagio e piano, culminating with the magnificently cultured Allegro, the final work being Keyboard Concerto No. 5 in F minor, BWV 1056~I, with its decadent opening followed by the sumptuous Largo, the set closing on the dashing Presto.

Official Apple Purchase Link

The Aspen Music Festival, one of North America’s largest and most beloved summer classical festivals, celebrates its 75th anniversary in 2024. My cherished collaborators, India’s great sarod master Amjad Ali Khan, his brilliant sons Amaan Ali Bangash and Ayaan Ali Bangash, tabla virtuoso Amit Kavthekar and I are honored to share in this historic milestone with LIVE IN ASPEN, our sold-out concert performed at the festival in August 2022.

The program was inspired by our album STRINGS FOR PEACE recorded in 2019 following a tour in India and released by ZOHO in 2020. We have been performing together ever since!

We had not thought of making another album in summer 2022. We simply wanted to play our hearts out for the exuberant Aspen audience eager to hear a sarod (actually three!) for the first time, and celebrate my 30th consecutive summer performance at the festival where I also direct the guitar department.

When we listened to engineer Wes Lanich’s masterful recording, however, we were moved by the energy, excitement, joy, spontaneity and love generated that night - to which Ayaan exclaimed, this is an album! With the festival’s blessing, engineer Sai Shravanam mixed and mastered LIVE IN ASPEN in India, presenting us with this treasure. [Sharon Isbin]

To open the program, I perform a solo by celebrated 19th-century Spanish guitarist Francisco Tárrega, his lilting serenade Capricho árabe rich in Moorish influences. Spanish composers often found inspiration in the tradition of flamenco, an art form believed to have evolved in Andalucía with influences from the Romani who migrated from India hundreds of years ago.

Indeed, one can hear elements of Indian classical music in flamenco’s melismatic cante jondo (deep song), as well as in rhythms and gestures by composers like Tárrega, Albeniz, Granados and Falla.

In Sacred Evening, Ayaan Ali Bangash joins me in the first of three works composed by Amjad Ali Khan for guitar, sarod and tabla and arranged by Kyle Paul.

1. Capricho árabe (Live)
2. Sacred Evening - Alap Yaman (Live)
3. Sacred Evening - Raga Yaman (Live)
4. By the Moon - Alap Behag (Live)
5. By the Moon - Raga Behag (Live)
6. Raga Ganesh Kalyan (Live)
7. Raga Bahar (Live)
8. Raga Bhatyali - Folk Music of Bengal (Live)
9. Romancing Earth - Alap Pilu (Live)
10. Romancing Earth - Raga Pilu (Live)

This gorgeously meditative and vibrant music, played by these wonderful acclaimed artists and musicians, the combination of the guitar with the sarod and tabla being ethereal and unique, opens on the delicately spun Capricho árabe and the reverberating Sacred Evening - Alap Yaman, and then we get the free-flowing Sacred Evening - Raga Yaman, the thoughtful By the Moon - Alap Behag and the upbeat and joyfully spirited By the Moon - Raga Behag.

Along next is the intricate Raga Ganesh Kalyan and the sumptuously propellant Raga Bahar and they are in turn followed by the playful Raga Bhatyali - Folk Music of Bengal, rounding out on the atmospherically-charged Romancing Earth - Alap Pilu, closing on an invigoratingly rapturous Romancing Earth - Raga Pilu.

Official Apple Music Purchase Link

For those unaware, the modern cinematic progressive rock band Circuline features two theatrical lead vocalists, a keyboard player from Juilliard, a jazz-rock genius on guitar, a rocking bass player from another galaxy, and a drummer with progressive rock in his DNA.

Indeed, their 2015 debut RETURN, has been called “breathtaking and imaginative, at times bombastic and grandiose, occasionally diving into more obscure sounds that will seem dark and ominous, always propelled by first rate vocal dynamics…a hugely entertaining debut from a band that certainly has set its sights on becoming a prog staple.”

1. Tempus Horribilis (6:22)
2. Third Rail (4:11)
3. Say Their Name (6:14)
4. All (7:36)
5. Temporal Thing (5:51)
6. You (6:13)
7. Blindside (5:59)
8. Transmission Error (9:21)

The brand new recording opens on the simply magnificent, free flowing AOR-prog that rides on veritably glistening wings, Tempus Horribilis and then we get the beautifully sweet Third Rail, the Steven Wilson meets Pierre Moerlin’s Gong sounds that thrive within Say Their Name and the funky bass line-fed, mid-tempo prog rock that drives All.

Along next is the sumptuously-sculpted AOR ballad Temporal Thing, which is itself backed seamlessly by the more enchanted vibrancy that drifts within the gripping You, the album rounding out on the gorgeous power balladry of Blindside, closing on another song about relationships and finding yourself, the near ten-minute opus Transmission Error.

Line-up / Musicians:
- Andrew Colyer / keyboards, lead & backing vocals
- Darin Brannon / drums & percussion, keyboards
- Natalie Brown / lead & backing vocals
- Shelby Logan Warne / bass
- Dave Bainbridge / guitars, additional keyboards

With:
- Joe Deninzon / acoustic & electric violins (8)
- William "Billy" Spillane / backing vocals
- Alek Darson / additional guitars (2)

Circuline - Tempus Horribilis [Official Video]

Official Purchase Link

For those unaware, for over 35 years, Pangaea has been creating music that intrigues the mind and inspires the soul. Since their formation in 1989, they have garnered interest in over fifty nations across the globe.

The band’s tight, melodic ensemble playing, highly proficient level of musicianship and excellent songwriting and singing are reminiscent of prog rock’s classic era while also showcasing the band’s modern era sensibilities.

The band was formed initially as Artica in 1989 in Tulsa, Oklahoma, by Corey and Andi Schenck, Ron Poulsen, Darrell Masingale (guitar/vocals) and Keith Tinker. Lead vocalist Steve Osborn joined the band in 1991, establishing the lineup that would become Pangaea.

The band debuted with the highly impressive The Rite Of Passage in 1996 and then went on to release two follow-up albums, only to then retire themselves from the music scene in 2008.

But luckily for all their fans, they got back together in 2021, eighteen years after the ensemble’s original line-up shared the same room, and have now brought forth their brand new album, Beowulf.

1. Necromancer (8:20)
2. Show Me the Way (4:38)
3. Masquerade (5:39)
4. Wasape (9:19)
5. Tomorrow Will Come (4:28)
6. What Am I Without You? (3:35)
7. A Month of Sundays (2:00)

The album kicks off in fine style on the near nine minute AOR prog/folk/rock opus Necromancer and then brings us the the piano-driven Show Me the Way, a veritably pop-nuanced Masquerade, the forceful, yet intricately woven nine minute Wasape, the recording rounding out on the free flowing, pleasingly mid-tempo AOR of Tomorrow Will Come, the beautiful orchestral swoon that ebbs throughout What Am I Without You?, closing on a rather, well, I think the best word to describe it would be vaudevillian finale of A Month of Sundays.

Line-up / Musicians:
- Andi Schenck / drums & percussion
- Corey Schenck / keyboards, guitars
- Steven Osborn / vocals, guitars
- Ron Poulsen / bass
- Darrell Masingale / guitar

PANGAEA - Tomorrow Will Come [Official 4K Music Video]

For those unaware, TIDES (releasing August 23rd, 2024) is a sonic portrayal of the human condition, revealing itself in being at the mercy of a strong current, while seeking to find trust deep within oneself that this current is a benevolent force that eventually is going to carry us to safe shores.

New York guitarist Philip Weberndoerfer created an imaginative album that celebrates space and openness, an apparent familiarity amongst the musicians, and a bold approach towards interplay, drifting between melancholy, lightheartedness and fervor.

1. Little B’s Poem
2. Low Gravity
3. Peace of Constance
4. My Ideal
5. Salted Sweets
6. Suspense and Certainty
7. Simple Task
8. The Gypsy
9. One of These Days

The brand new recording opens on the upright bass-fed, rhythmically enchanting Little B’s Poem and then brings us the dulcet-sculpted, at first, then free-flowingly like the sea to the shore Low Gravity, the all-embracing Peace of Constance and then we are graced with the playfully languishing, funky at times My Ideal.

Up next is the impassioned range of melodies that make up Salted Sweets which is in turn backed by the languishing Suspense and Certainty, the dutifully engrossing, late night feel within Simple Task, the album rounding out on the profoundly situated The Gypsy, coming to a close on the quietly playful, and a little flirtatious One of These Days.

This collection of songs is an authentic NYC project with artists from across the East River. The musicians in this band found together as friends with the mission to preserve a childlike innocence and curiosity towards exploring music - to develop a sound cultivated by taking time, against the stream of our fast-paced environment, and shaped by the expressive force of the New York Jazz community along with the vivid nightlife throughout the city.

In pursuit of this musical journey, the Trio crossed paths with kindred spirit Dayna Stephens, whose artistic prowess complemented the vision.

The result of this collaboration is an imaginative album that celebrates space and openness, an apparent familiarity amongst the musicians, and a bold approach towards interplay that ebbs and floats while at the same time leaving room for each individual voice to breathe.

Musicians:
Philip Weberndoerfer - guitar
Richard Mikel - bass
Peter Traunmueller - drums
Dayna Stephens - saxophones (tracks 2, 3, 5, 7, 8)

Official Purchase Link

For those unaware, just in time for the big bloom, award-winning jazz vocalist and composer April Varner has announced her intimate, imaginative debut album, April, due out June 28th, 2024 via Cellar Music.

A cleverly curated and totally cohesive opening statement, April offers a banquet of standards and rock-era classics — all with “April” in the title — bookended by two succulent originals: “April Blues” and “Who Let April Back Into My Dreams?”

April is produced by famed drummer-producer Ulysses Owens Jr., who was first introduced to the singer via Theo Bleckmann. “She’s one of the most dynamic and studious musicians I have encountered in many years,” Owens Jr. reflects. “I have worked with a lot of talented artists, but not many that possess the work ethic and ambition that April encompasses, coupled with her incredible talent. She can sing anything and can morph into whatever the style is.” Working together was a natural step, and the two went to work in April.

The result is a vibrant and cohesive album guided by self-reflection. “I wanted it to be like a letter to myself, and how far I’ve grown as an artist,” the singer says. “I want the world to see who April is and what that name invokes. It’s a reflection of both my personality and the many feelings associated with the season of Spring. My goal was to showcase different emotional layers that people could resonate with.”

1. April Blues
2. I’ll Remember April
3. Joy of April
4. April Come She Will
5. April Give Me One More Day
6. April Again
7. Sometimes It Snows In April
8. Dear April
9. April In Paris
10. Lost April
11. Who Let April Back Into My Dreams?

The brand new recording opens on the dulcet, upright bass-led April Blues and the gently fervent I’ll Remember April and then we get brought forth the scat-introduced, latterly a sweepingly gorgeous Pat Metheny ballad Joy of April, her veritably shimmering take on Simon and Art Garfunkel’s April Come She Will and the all-embracing April Give Me One More Day.

Along next is the playfully perky, Hammond-hued April Again and the beautifully-sculpted Prince and the Revolution classic ballad Sometimes It Snows In April, and they are in turn backed seamlessly by Frank Ocean’s languishing Dear April, the twinkling April In Paris, the album rounding out on the low slung Lost April, closing on the ambiant Who Let April Back Into My Dreams?

April features pianist Caelan Cardello (who also is the album arranger), guitarist Russell Malone, bassist Reuben Rogers, drummer Miguel Russell, trumpeter and vocalist Benny Benack III, and tenor and soprano saxophonist Dayna Stephens. When choosing the band, Varner wanted to include musicians who had inspired her.

Varner’s years-long history with Cardello and Russell particularly is displayed by their discernible interplay and tight musical connection. In selecting the guests, Owens Jr. played a significant role, in shaping the bandstand by suggesting players that would best complement the vocalist.

Musicians:
Vocals: April Varner
Piano: Caelan Cardello
Guitar: Russell Malone
Bass: Reuben Rogers
Drums: Miguel Russell
Trumpet/Vocals: Benny Benack III
Tenor/Soprano Saxophone: Dayna Stephens
Vocal Arranging & Production on Dear April: Theo Bleckmann

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For those unaware, Michael Pagán documents five original compositions and three arrangements of tunes by some of the most celebrated masters of the post-bop era here on his brand new album, Paganova.

While the instrumental format of two saxes and rhythm section, a pillar of the jazz lexicon, may call to mind such seminal works as the Lennie Tristano Quintet featuring Lee Konitz and Warne Marsh, the Cannonball Adderly Quintet in Chicago, and the Tribute to John Coltrane: Live Under the Sky featuring Wayne Shorter and Dave Liebman, Paganova’s front line breaks ground in that its reed men, David Chael and Michael Herrera, switch instruments between tenor, alto, and soprano saxophones throughout the entire set, resulting in a breath-taking showcase in the art of sax doubling.

Bassist Louie Pagán an independently established composer and producer in his own right, crosses the genre line to join his father’s group on electric and upright bass, adding an exciting flare particularly to the Latin and straight-eighth note offerings, while renowned veteran drummer Ray DeMarchi (who appeared on Pagán’s 2010 Capri release Three for the Ages) wraps the entire ensemble in sophisticated, experienced drum work that is at once warm, hard hitting, and heart felt.

1. Burn it Forward
2. Deep in My Soul
3. Guess Who’s Blues
4. Eiderdown
5. Where Do We Go From Here
6. Gaviota
7. Just the Other Day
8. Napoli

This new album from the prolific pianist/composer, who has become a fixture of the Kansas City jazz scene over the past two decades, opens on the vibrantly euphoric Burn it Forward and the playful piano/sax balladry of Deep in My Soul, before bringing us both the engaging Guess Who’s Blues and a delightful fervency that drives Eiderdown.

Along next is the low slung dinner suite Where Do We Go From Here, which is seamlessly backed in turn by the jaunty jazz brilliance within Gaviota, the album rounding out on the peppy finger-snapper Just the Other Day, closing on the upbeat, joyous and masterfully sculpted coming together that embodies Napoli.

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For those unaware, Pepito y Paquito offers a glimpse into the humble and homespun beginnings of a genius who marked a turning point in flamenco guitar and reveals a series of rudimentary musical recordings of Paco de Lucía and his older brother Pepe, at ages 11 and 13 respectively.

These recordings, hidden in a quince box for more than half a century, showcase the genesis of a universal figure in contemporary flamenco and highlight his brother’s significance as a singer.

The extraordinary home recordings that, like a home movie, take listeners back to a time of the need in Franco’s Spain, and how the brothers, gifted with preternatural talent, allowed them to to escape poverty through art and ingenuity.

1. Me Falta La Resistencia (Tangos de la Pirula de Málaga)
2. Al Pilarico por Agua (Bulerías por Soleá)
3. Romance de Juan Osuna (Seguiriyas Tientos)
4. Aunque Pongan en tu Puerta (Alegrías)
5. Se Comerá Mi Dolor (Soleares)
6. La Corales (Cuplé por Bulerías)
7. Que Viene el Coco (Rumba)
8. Bulerías Niño Ricardo (Solo de Guitarra)
9. De Alfombra de Rosas (Liviana)
10. Con su Rebaño (Serranas)
11. Que el Viento se la Llevó (Polo)
12. Voy A Tener Que Dejarte (Fandangos Naturales)
13. Escucha lo que te digo (Bulerías)
14. Con una Rosa en el Pico (Fandango Santa Eulalia)
15. Las Estrellitas del Cielo (Villancico por Bulerías)
16. Zapateado Niño Ricardo (Solo de Guitarra)
17. Entre Compás y Desplantes (Soleares de Cádiz)
18. Amante de Abril y Mayo (Cuplé por Bulerías)
19. Lo que Pasó en Veracruz (Soleares de Triana/Apolas)
20. Caminito de Alcalá (Bulerías)
21. Soleá Niño Ricardo (Solo de Guitarra)

This enticingly mesmerizing flashback of an album opens on the vibrancy of Me Falta La Resistencia (Tangos de la Pirula de Málaga), the spirited Al Pilarico por Agua (Bulerías por Soleá) and the evoking Romance de Juan Osuna (Seguiriyas Tientos), and then we get brought forth the rhythmic hand-clapper, at first, then sumptuous, albeit vocally forthright, balladry latterly Aunque Pongan en tu Puerta (Alegrías), the jaunty Se Comerá Mi Dolor (Soleares), the melodic La Corales (Cuplé por Bulerías), and then the guitar-fed beauty Que Viene el Coco (Rumba), then the preciseness of playing is showcased to perfection on Bulerías Niño Ricardo (Solo de Guitarra), and both the methodical De Alfombra de Rosas (Liviana) and the quietly extravagant Con su Rebaño (Serranas).

Along next is the upbeat and wholly ambient Que el Viento se la Llevó (Polo), the gently rambunctious Voy A Tener Que Dejarte (Fandangos Naturales), the atmospherically-charged Escucha lo que te digo (Bulerías) and the dutiful Con una Rosa en el Pico (Fandango Santa Eulalia), and they are in turn backed by the party atmosphere that drives Las Estrellitas del Cielo (Villancico por Bulerías), the delicate, almost classical nature of Zapateado Niño Ricardo (Solo de Guitarra), the emboldened Entre Compás y Desplantes (Soleares de Cádiz), the flourishing Amante de Abril y Mayo (Cuplé por Bulerías), the album rounding out on the textured Lo que Pasó en Veracruz (Soleares de Triana/Apolas), the fiery Caminito de Alcalá (Bulerías), closing on the infinitely intrinsic guitar playing found within the simply glorious Soleá Niño Ricardo (Solo de Guitarra).

Pepito y Paquito is an auditory window through which we observe two children having fun, playing, and singing naturally and festively. Simultaneously, their inherent talent projects the long shadow of the legacy they would develop in their respective careers as two icons of contemporary flamenco, especially that of a universal master of the guitar.

“For all the possibilities discovered in our instrument over the generations, it is not surprising to hear master Paco at 12 years old already chasing the next level of what could be. In fact, according to these recordings, he was already there in many ways,” commented American jazz guitarist Pat Metheny. “Hearing and knowing Paco, and to have been on the planet with him at the same time, is one of the things I am most grateful to have experienced in life.”

For those unaware, in an electrifying surge of creativity, Southern rock behemoths Robert Jon & The Wreck are poised to unveil their most ambitious project yet, Red Moon Rising.

This groundbreaking album, set for release on June 28th, 2024 via Joe Bonamassa’s Journeyman Records, is a bold declaration of evolution and rebirth, capturing the essence of the band’s transformative years and setting a new course for their musical odyssey.

The album’s lead single and title track, Red Moon Rising, emerges as a beacon of this new era. With its funk-infused rhythms and thought-provoking lyrics, the song represents a slight departure from the band’s traditional sound. “Red Moon Rising started out as a simple jam in the room and took on a life of its own,” reveals front man Robert Jon. “It’s about all the beliefs, myths, and traditions surrounding a red moon, symbolizing rebirth and change, which perfectly encapsulates the spirit of our new album.”

1. Stone Cold Killer
2. Trouble
3. Ballad Of A Broken Hearted Man
4. Red Moon Rising
5. Dragging Me Down
6. Hold On
7. Down No More
8. Help Yourself
9. Worried Mind
10. Give Love
11. Rager (CD Bonus Track)
12. Hate To See You Go (CD Bonus Track)

This enticingly mesmerizing new album opens on the pulsating rocker Stone Cold Killer and the blues-rock foot-stomper Trouble and then we get delivered the cinematically-hued Ballad Of A Broken Hearted Man, the titular, drum-led, guitar jangling Red Moon Rising and both the atmospheric slinger Dragging Me Down and the gritty, foot to the floor blues rock of Hold On.

Along next is the melodically rhythmic, sunshine day brought forth within Down No More and the piano-led, countrified ramble of Help Yourself, and they are in turn backed by the languishing harmonica ballad Worried Mind, the mid-tempo balladry of Give Love, with the two CD bonus tracks Rager and Hate To See You Go bringing the album to a close.

Following a whirlwind of activity in recent months, including the release of their acclaimed singles,Ballad Of A Broken Hearted Man, Help Yourself, Hold On, and Stone Cold Killer, as well as their studio and live albums Ride Into The Light and Live At The Ancienne Belgique, Robert Jon & The Wreck continue to forge their path with unyielding momentum. Red Moon Rising is the culmination of their experiences, a testament to their resilience and a celebration of their collective growth.

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For those unaware, a world-class jazz pianist, vocalist, multi-instrumentalist, and successful online piano tutor, 27-year-old Jesus Molina is a one-man force of nature, a Berklee College of Music grad and Latin Grammy Cultural Foundation award winner who has already carved out an impressive career.

His brand-new instrumental album Selah – a blessing meaning “praise” or “lift up” – perfectly captures his spiritual approach to music; 10 songs that soar to celestial heights, featuring Molina on piano and soprano saxophone, fronting a trio including bassist Guy Bernfeld and drummer Cain Daniel, two fellow Berklee alumni.

From the exotic Middle Eastern overture on the opening title track to the climactic “Out of a Dream,” which could be the orchestral end credit score to an epic movie, Selah introduces a major talent who takes cues from such jazz piano greats as Oscar Peterson, Chick Corea, Art Tatum, Errol Garner and Bill Evans, but has developed his own style on his new release.

1. Selah
2. Dear Fall (featuring Hubert Laws)
3. Soul Journey (featuring Noel Schajris)
4. Melody (featuring Lucia Micarelli)
5. Pichi
6. Quintuplets
7. Blue New Year (featuring Lucia Micarelli)
8. Kadoshin
9. Caf
10. Out of a Dream

This enticingly mesmerizing new album opens on the tranfixing Selah and the drum-led vibrancy of Dear Fall (featuring Hubert Laws) and then we get the low slung Soul Journey (featuring Noel Schajris), the classically-hued elegance of Melody (featuring Lucia Micarelli) and the playfully sprightly Pichi.

Along next is the veritably shimmering Quintuplets and the evoking Blue New Year (featuring Lucia Micarelli), and they are in turn backed by the delicately sculpted Kadoshin, the recording rounding out on the unexpected synth-driven work of musical art, Caf, closing on the laid back nature within Out of a Dream.

Selah is a musical blessing, a sacred symphony to transport this troubled world into a more joyful space. The world is about to discover Jesus Molina for themselves.

Selah will be released on vinyl, CD and streaming on May 24th via Argentine/Mexican musician Noel Schajris’ independent label Dynamo Productions.

For those unaware, The Magnolia Janes have a way of sorting through life’s highs and lows, painting lush, emotional soundscapes that guide listeners to look for the beauty within.

Made up of friends and songwriters Sarah Bonsignore and Ashley Riley, the duo first met at a sync songwriting retreat in the Pocono Mountains. Both acclaimed solo artists who have had success writing music for film & TV, they bonded over their love of vintage clothes, cheap wine, and so many laughs.

They performed together, backing each other up on their own solo music on stages in California, Nashville, and New York before officially deciding to form their band, and their quite darling debut album, The Light Years, dropped this past July 12th, 2024.

1. Stones On The Road
2. Speed Of Life
3. Goodbye To Lonely
4. The Sun In My Backyard
5. Pretty Baby
6. Running
7. Gotta Leave A Good Thing
8. Same Side
9. The Light Years
10. Five More Minutes
11. This Old World

The Americana/folk/indie pop-rock singer-songwriter duo open their album on the walkabout, good times felt within Stones On The Road and the languishing Speed Of Life, and then brings us the dutifully dulcet balladry within Goodbye To Lonely, the sumptuous The Sun In My Backyard and the sweetly sugary, veritably glistening Pretty Baby.

Along next is the troubador roll to Running and the shimmering glow that comes adorning Gotta Leave A Good Thing, and they are in turn backed by the beautiful piano ballad Same Side, the album rounding out on the whispery storytelling of the titular The Light Years, the slow dancefloor swirl of Five More Minutes, closing on the all-embracing This Old World.

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For those unaware, decades after making waves with gritty NYC new wavers The Shirts, Arthur Lamonica proves he’s still got the hooks on Rome 56’s infectious new outing Paradise Is Free.

Recorded between New York and Amsterdam with his wife and longtime co-pilot Kathleen, this effortlessly catchy album shows Lamonica remains a master of fusing power pop, new wave and roots rock into retro-modern gold. Paradise Is Free adds another catchy chapter to Rome 56’s enduring songbook.

1. The Man Behind the Man with a Gun
2. Hustle of the Crowd
3. Fire in the Sky
4. Seattle
5. At the End of the Street
6. Paradise Is Free
7. Invisible Man
8. A Simple Way to Go
9. Some Say
10. The Midnight Sun
11. Dry Ice
12. Give Myself Up to You

This wondrously eclectic new collection of captivating songs opens on the pulsating The Man Behind the Man with a Gun and the funk-grooved Hustle of the Crowd, and they are followed by the upbeat and free-flowing Fire in the Sky, the low slung Seattle, and then we get both the languishing At the End of the Street and the delightful, 70’s-hued foot-tapper Paradise Is Free.

Along next is the mid-tempo, Elvis Costello-esque rock that drives Invisible Man and the beat-laden A Simple Way to Go, and they are in turn backed by the earnest piano ballad Some Say, the Americana vibe of The Midnight Sun, the album rounding out on the joyfully-imbibed Dry Ice, closing on the slow roll of Give Myself Up to You.

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For those unaware, Sony Music Brazil is thrilled to unveil a remarkable musical convergence of Afro-Cuban and Brazilian jazz on Collab, personified by two of its greatest exponents: the renowned Afro-Cuban pianist Gonzalo Rubalcaba, named one of the great pianists of the 20th century (Piano & Keyboard Magazine) and known for his impeccable technique and rhythmic innovation, and the virtuoso Brazilian mandolinist Hamilton de Holanda, whose skill and creativity has revolutionized the instrument and Brazilian music.Collab is a musical journey through varied soundscapes, with each track offering a new discovery rooted in their common African ancestry. Collab is out internationally now, and in the United States on July 19th, 2024.

1. Incompatibilidade e Gênios (João Bosco & Aldir Blanc)
2. Blues Lundvall (Gonzalo Rubalcaba)
3. Mandalagh (Hamilton de Holanda)
4. Yolanda Anas (Gonzalo Rubalcaba)
5. Flying Chicken (Hamilton de Holanda)
6. Silence (Charlie Haden)
7. Don’t You Worry `Bout A Thing (Stevie Wonder) – feat. Gabriel Grossi
8. Choro Fado (Hamilton de Holanda)
9. Incompatibilidade de gênios (João Bosco & Aldir Blanc) – feat. João Bosco
10. Transparence (Gonzalo Rubalcaba)
11. Saudade, Saudade (Maro & John Blanda)

This wondrously embracing new collection of captivating songs opens on the near eight-minute instrumental Incompatibilidade e Gênios and the sprightly original composition (one of three on the album), Blues Lundvall and then we are brought forth the playfully impish Mandalagh, the impassioned original, Yolanda Anas, and then we get the fervently sculpted Flying Chicken.

Along next is the delicately-hued Silence and the creatively-sewn melodies that make up Stevie Wonder’s Don’t You Worry `Bout A Thing (featuring harmonica player Gabriel Grossi), and that is in turn backed seamlessly by the cohesive Choro Fado, the scat-driven Incompatibilidade de gênios (featuring composer and singer João Bosco), the recording rounding out on the veritable gossamer of his last original, Transparence, closing on the gentle, almost at times cinematic Portuguese pop hipsway that drives Saudade, Saudade.

Gonzalo Rubalcaba, deeply rooted in the jazz tradition, brings with him a wealth of influences when approaching Afro-Cuban rhythms, from the pulsating energy of the batá drums (drums of African origin, from the Yoruba culture, used both in music and in Santeria) to the complex harmonies of contemporary jazz.

His piano interpretation is marked by captivating fluidity and enveloping emotional intensity, combining impeccable technique with a visceral expressiveness that resonates with listeners.

On the other hand, Hamilton de Holanda is a true master of the Brazilian mandolin, elevating this instrument to new heights of virtuosity and innovation, inspiring a new generation of instrumentalists. His music is saturated with the vibrant colors and rhythms of Brazil, infusing jazz with elements ranging from traditional choro to influences of samba and bossa nova, and beyond.

Hamilton is recognized for his extraordinary improvisational ability, as well as his capacity to extract a surprising range of sounds from his 10-string mandolin, thus creating a truly unique musical experience.

For those unaware, Happying is an album by vocal and instrumental duo — and husband and wife — Nancy and Spencer Reed. Half a century ago, they met in the projects in the Bronx and forged not only their romantic relationship but a musical one — influenced by the classic performances of Lambert, Hendricks and Ross, Carmen McRae, and Jackie and Roy.

In the nearly 50 years since the Reeds moved to the Pocono Mountains of Pennsylvania, the couple has loomed large in the Poconos jazz scene, with the world-famous venue the Deer Head Inn — of Keith Jarrett, Gary Peacock, and Paul Motian, and Phil Woods, Al Cohn and John Coates, fame — as its epicenter. As best-kept secrets, Nancy and Spencer Reed have played vital roles in this geographical wellspring of music.

Happying comprises three distinct sessions: one in Brooklyn with Bill Goodwin on drums, another with Nancy’s house band at their home studio and a third session with saxophonist Dave Liebman.

1. Cheerful Little Earful
2. Whisper Not
3. Does Anybody Really Know What Time It Is?
4. A Child Is Born
5. Feel Like Makin’ Love
6. Morning Morgantown
7. Moanin’
8. Happying

This delightful new collection of captivating songs opens on the cheerful scat-hued Cheerful Little Earful and their low slung rendition of Benny Golson’s Whisper Not and then comes the fluctuating percussional tones found driving Chicago’s classic Does Anybody Really Know What Time It Is? and a stirring rendition of Bill Evans and Tony Bennett’s A Child Is Born.

Along next is the laid back hipsway of Bad Company’s Feel Like Makin’ Love and a vibrantly playful cover of Joni Mitchell’s Morning Morgantown, the recording rounding out on a notably slower version Art Blakey’s Moanin’, coming to a close on a guitar bed that allows their titular Happying to smoothly groove its way into our hearts.

Leading up to Happying, the couple has made seven albums together, and each have appeared on a cadre of notable records. Happying began life like many albums do: by a simple request from the producer, Richard Dunning. In this case, to do something more “mainstream” than his previous projects.

Right then, the husband and wife duo flashed back to three unfinished sessions. Which amounted to unfinished business — and for fans of Poconos jazz, lucky us.

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For those unaware, Michael Eckroth, pianist and keyboardist, is an active performer in New York and worldwide, having performed extensively with musicians such as jazzicons John Scofield, Ron McClure, Eliot Zigmund and Paul McCandless.

Equally at home in jazz and Latin-American music forms, Michael received a Grammy nomination for his work on the 2018 Cuban music album Orquesta Akokan, which received rave reviews on outlets such as NPR and France’s FIP. He is also a recipient of a PhD from New York University, former professor of music at Dartmouth College and a current full-time professor of music at FIU.

Truth Revolution Recording Collective is thrilled to announce the newest album by this Grammy-nominated pianist and composer, Human Geography. The renowned pianist-composer, who elegantly and effortlessly steps between the realms of contemporary jazz, Afro-Cuban, and Puerto Rican music cultures, Human Geography is the follow-up to his 2021 release Plena.

1. Human Geography (5:32)
2. Little B’s Poem (3:50)
3. Freedom In Precision (4:46)
4. Kachina (4:33)
5. New Bomba (6:08)
6. In 15 (4:26)
7. Funk Gets It (4:26)
8. Hilton (3:30)

On what is an album where Eckroth combines the skill and passion gleaned from years of recording, writing, and performing within this fluid blend of Latin American music and modern jazz, thus creating something that is uniquely personalized, he opens with the guaguancó, rhythmical-charged title track Human Geography and an ode to Herbie Hancock and Bobby Hutcherson in the form of the piano-fed, percussional hipsway of Little B’s Poem, and then brings us the rhythmic guaguancó jazz overtones that drive Freedom In Precision and the impassioned, Afro-Cuban-imbibed Kachina.

Along next are the Puerto Rican bomba rhythms that dutifully pulsate throughout the stellar New Bomba which is in turn backed beautifully by the late night-hued ambiance of the smooth In 15, the recording rounding out on the free-flowing, and aptly titled Funk Gets It, coming to a close on a tribute to the great Hilton Ruiz, the robustly rhythmic Hilton.

Eckroth is quick to give praise to his band members in achieving the powerful vibrancy of this album. All of the musicians on the album are longstanding collaborators for Eckroth, with each one representing a lengthy history of performing and creating together.

Above all, Eckroth values the musicians’ ability to fit anywhere and envision anything. “These musicians are supremely flexible, and most importantly are able to bring out more than what’s intended by the compositions and arrangements,” Eckroth says. “It’s a group aesthetic that has been nurtured over several years of sporadic playing.”

The album boasts multiple arrangements of piano trios, changing bassists and percussionists both to suit the needs of each piece and to represent different moments in Eckroth’s musical history. The personnel on Human Geography is Michael Eckroth (piano, Rhodes, keyboards); Joel Mateo (drums); Raul Reyes, Edward Perez, and Alex “Apolo” Ayala (bass); Mauricio Herrera and Carlos Maldonado (percussion); Matt Hilgenburg and Alex Norris (trumpet); and Peter Brainin (tenor saxophone).

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For those unaware, esteemed cellist Erik Friedlander steps back into the musical ring with his new album Dirty Boxing. To be released on June 28th, 2024 via Skipstone Records, Friedlander’s wry look at the stark vocabulary of Mixed Martial Arts (MMA) is an unexpected and clever subject.

While exploring the unforeseen parallels between the disciplined artistry of music and the strategic combat of mixed martial arts, Friedlander and his band mates deliver powerful performances that weave together intensity, grace, and a touch of the fighting spirit. The resulting sonic odyssey is bound to leave listeners stunned and maybe even a little knocked out.

1. Sprawl (5:29)
2. Foot Stomp (4:41)
3. Shrimping (Mod 9) (4:44)
4. Ground & Pound (Mod 1) (3:30)
5. D’Arce (Mod 2) (3:28)
6. Contender (3:46)
7. Erik Friedlander’s The Throw - Submission (4:55)
8. Kimura (4:18)

This invigoratingly captivating new collection of songs opens on the euphorically-charged Sprawl and then brings us the jaunty Foot Stomp, the delicately-hued Shrimping (Mod 9) and the fervent Ground & Pound (Mod 1).

Along next is the playfully flirtatious D’Arce (Mod 2) and that is backed by the free-flowing Contender, the album rounding out on the languishing beauty of Erik Friedlander’s The Throw - Submission, closing on the emboldened Kimura.

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For those unaware, the late great guitar legend Dickey Betts recorded live on January 1988 in New York City at the Lone Star Roadhouse. The set was broadcast on classic rock NYC radio station WNEW-FM and features a stellar band of musicians, including Gov’t Mule and Allman Brothers Band guitarist Warren Haynes along with Nashville keyboard player Johnny Neel, bassist Marty Privette and Matt Abts on drums.

The set features tracks from the Dickey Betts 1988 album, Pattern Disruptive including his tribute to Duane Allman, Duane’s Tune along with many Allman Brothers classics, such as the Betts-written tracks, Blue Sky, Jessica, In Memory of Elizabeth Reed, and other ABB standards including Statesboro Blue and One Way Out.

The live set also features some all-star guest players including Rick Derringer on Rock And Roll, Hoochie Koo, Jack Bruce on Spoonful and Mick Taylor on Southbound. The CD version is the complete 120-minute concert featuring seven tracks unavailable on the limited edition blue colored double vinyl version and never previously released.

CD 1:
1. Rock Bottom
2. Blue Sky
3. Warren Haynes introduction
4. Time To Roll
5. Duane’s Tune
6. The Blues Ain’t Nothing
7. Far Cry
8. Heartbreak Line
9. In Memory Of Elizabeth Reed
10. Loverman
11. Jessica

This invigoratingly captivating new live collection of songs opens on the gritty blues rock of Rock Bottom, the scintillating romp of Blue Sky and after a brief Warren Hayes introduction, the Southern rocker Time To Roll is brought forth.

Along next is the long highway drive of Duane’s Tune and the smokin’ blues of The Blues Ain’t Nothing and they are in turn backed by the guitar busting Far Cry, the Clapton-esque Heartbreak Line, and the brilliant trio of a languishing In Memory Of Elizabeth Reed, the rhythmic Loverman and the keyboard frenetic rocker Jessica.

CD 2:
1. Under The Guns Of Love
2. Statesboro Blues
3. One Way Out
4. Rock and Roll, Hoochie Koo
5. Spoonful
6. Southbound

The second disc opens on the hidden gem Under The Guns Of Love and the searing guitar work brought forth on Statesboro Blues, before letting loose on the harmonica-driven One Way Out, the always brilliant to hear rocker Rock and Roll, Hoochie Koo, the set coming to a close on the low slung Spoonful and the countrified rocker Southbound.

For those unaware, Sheroes is an all-female band spearheaded by jazz pianist, composer and arranger Monika Herzig and their new album is also a celebration of the group’s 10th anniversary.

All In Good Time (out now via Zoho Music) is the latest step in Monika Herzig’s ongoing mission to elevate women composers, players and bandleaders. This fourth outing under the banner Sheroes, an all-female band spearheaded by pianist, prolific composer and arranger Herzig, is simultaneously a celebration of the group’s 10th anniversary and a salute to their perseverance.

This group has pushed quite a few boundaries and inspired similar formations and initiatives, said Herzig. However, change takes time and we’re seeing small steps forward in those 10 years, but we remain patient.

1. All In Good Time
2. Parade of Sadness
3. Behind
4. Right Now
5. Run the World (Girls)
6. PC
7. Palermo Chico
8. Make It Count
9. Arrival in Forever
10. Jamie’s Song

This wonderful new recording opens on the joyful jazz melodies within the titular All In Good Time and then, and in what is known to be the saddest key (D minor), we get the aptly-titled Parade of Sadness and they are followed by the tightly intricate Behind, the calm before the storm on Right Now soon giving way to a more robust harmonies, and then we get their rendition of Beyonce’s anthemic Run the World (Girls).

Along next is the beautifully balladry of PC (which stands for Post-Covid) and the strident Palermo Chico and they are in turn backed by the all-encompassing Make It Count, the album rounding out on the chartered Arrival in Forever, closing on the mellow tones within Jamie’s Song.

On All In Good Time, Herzig is once again joined by Sheroes charter members Jamie Baum on flute, Reut Regev on trombone and Leni Stern on guitar. Drummer Rosa Avila returns from her appearances on 2018’s Sheroes and 2020’s Eternal Dance, while newcomers Camille Thurman on tenor sax and vocals (a former member of the DIVA Jazz Orchestra and Jazz at Lincoln Center Orchestra) and bassist-composer Gina Schwarz fill out this current potent lineup.

Together their chemistry is undeniable, as they skillfully navigate the demanding originals by Herzig and Schwarz -- and one surprising cover -- while delivering impassioned improvisations along the way.

Musicians:
Monika Herzig - piano, keyboards
Rosa Avila - drums
Jamie Baum - flutes
Reut Regev - trombone
Gina Schwarz - acoustic bass
Leni Stern - guitar
Camille Thurman - tenor sax, vocals

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For those unaware, Jakob Magnússon has lived many lives that are a confluence of extraordinary musical talent, TV & film production work, environmental activism, and even a stint as the cultural attaché of the Icelandic embassy in London.

His new musical project, Jack Magnet Science, is the latest endeavor in his rolodex of multi-hyphenism. The project is an amalgamation of members of the prolific Icelandic band Stuðmenn, which he co-founded, and top call US-based jazz titans such as Peter Erskine (Weather Report, Steps Ahead) and Matthew Garrison (Shapeshifter, The Zawinul Syndicate).

The future-forward ensemble will release their debut album, ‘Future Forecast’ on June 7th, 2024 via Floki Studios.

Future Forecast is a double entendre nodding to the band’s admiration for Magnússon’s fascinating environmental work background that includes developing a weather control device with British scientists that has been successfully used for years at various musical festivals.

In the autumn of 2022, the newly formed group convened at Floki Studios, located in a remote area of Northern Iceland and decided to operate off the most simple, yet perhaps somewhat risky premise: Let’s play and see what happens.

The musicians improvised for three days which culminated into hours of improvised music split over 72 tracks that then provided the basis for 7 brand new tracks, each detailing a sonic exploration of its own. All musicians involved recounted transformative experiences at Floki Studios that rekindled their love for making music, “This musical experience reignited my passion for creating and recording new music,” reflected Erskine in a radio interview shortly after the sessions.

That is the sound of Future Forecast—a way forward, without boundaries, suddenly aware of how many more possibilities await.

1. Wild Card
2. Space Pasadena
3. Dreams of Delphi
4. Extra Polation
5. ITSYAMO
6. ReAct!
7. RupTures

This brilliantly sculpted new recording, and one layered with fragments of personal history and crossed paths, opens on the funk-grooved Wild Card and the proceeds to bring us the ideal spacial effervescence of Space Pasadena and the jubilantly triumphant Dreams of Delphi.

Along next is the funk, slap bass-fed grooves of Extra Polation which is in turn backed seamlessly by the spacially aware notations within ITSYAMO, the gently frenetically sculpted ReAct! is along next, the album closing on the languishing RupTures.

Line-Up:
Jack Magnet, Keyboards | Matthew Garrison, Bass | Peter Erskine, Drums | Eythor Gunnarsson, Keyboards | Siggi Baldursson, percussion | Einar Scheving, percussion | Ragga, Vocals | Disa, Vocals | Phil Doyle, Saxophone | Gudmundur Petursson, Guitar.

Official Purchase Link

www.color-red.com

For those unaware, it all started at The Yardbird Suite in Leeds, UK in 1996. The legendary jazz-funk revivalists, The Greyboy Allstars, embarked on their maiden voyage to the UK with a stop at the legendary jazz club hosted by Eddie Roberts and a supporting set from his organ trio, The Three Deuces.

That night sparked a mutual admiration between both groups as they had met their cross-continental counterparts who were reinvigorating 60s boogaloo soul-jazz. It was a once-in-a-lifetime connection between devout loyalists of exploring vintage tones, digging for records, and forging paths as trailblazers of the funk and soul revival in the late 90s and early 00s.

Roberts would later form the international funk group The New Mastersounds’ in 1999 whose expansive career has issued 12 studio albums, earned coveted appearances at international festivals, and even made headway on the Billboard contemporary jazz albums charts with the release of their 2019 studio album ‘Shake It’ that celebrated the group’s 20th anniversary.

Meanwhile, The Greyboy Allstars continued to preserve the heritage of jazz-funk giants while cultivating timeless music of their own as individual members of the group would flourish into sought-after collaborators, notable film composers, and studio standouts.

With Roberts residing in the US, collaboration with members of The Greyboy Allstars became frequent, especially between him and keyboardist/organist Robert Walter. Using his own record label and music platform, Color Red, as a springboard, they could now travel back in time to their initial meeting 26 years ago and assemble the dream team of funk enthusiasts and analog recording devotees featuring Roberts on guitar, Walters on keyboards, GBA’s Chris Stillwell on bass, and GBA alum Zak Najor on drums.

Despite being a brand new project, all four members of The Rare Sounds have played in numerous projects with each other over the years and have automatic chemistry and musical shorthand. Everyone gets all the references and shares a common language and love for the traditions of the music.

The group recorded 10 tracks for their debut LP at Hyde Street Studios in San Francisco, CA in August 2021 and made their live debut at Cervantes’ Masterpiece Ballroom in Denver, CO for two packed-out nights leaving listeners in eager anticipation of what’s to come. The group will finally release their highly anticipated debut LP via Color Red in May 2024.

1. Half A Mind (5:21)

2. Those Things You Do (5:23)

3. PYG (7:03)

4. Lost Backpack (3:20)

5. Intensive Purposes (5:28)

6. Yeah, You! (5:00)

7. Headwaters Of The River Jordan (5:54)

8. One Hand (5:50)

9. Through Being Cool (4:35)

This wonderful recording opens on the funk-grooved Half A Mind and then brings us the gently frenetic Those Things You Do, the laid back rhythms of PYG and then we get the soulful Lost Backpack.

Along next is the upbeat and perky Intensive Purposes and the robust Yeah, You! and they are in turn backed by the languishing beauty that free flows within Headwaters Of The River Jordan, the album rounding out on the funky beats of One Hand, closing on the all-embracing Through Being Cool.

Performed by: Eddie Roberts (Guitar), Robert Walter (Organ), Zak Najor (Drums/Percussion), Chris Stillwell (Bass).

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For those unaware, the Planet D Nonet is a down and dirty little swing band from Detroit which was founded by drummer RJ Spangler and trumpeter James O’Donnell.

The Planet D Nonet is about swing, blues, space-age jazz and classic American songs all served with plenty of good humor with an eye toward turning people onto this kind of music.

Planet Detroit Nonet’s last recording, “Blues to Be There: A Salute to Duke Ellington,” ELD-40, which came out in 2023 did very well for the band. The recording reached #16 on the JazzWeek chart and so they have just released their brilliant follow-up this past July 18th, 2024, entitled Echoes of Harlem: A Salute to Duke Ellington Vol.2.

1. Happy Anatomy
2. Flirtibird
3. Rocks in My Bed
4. Echoes of Harlem aka Cootie’s Concerto
5. Addi
6. Blood Count
7. Juniflip
8. Azalea
9. La Belle Plus Africaine
10. Caravan
11. Frustration
12. I’m Gonna Go Fishin’ aka Main Title of Anatomy of a Murder
13. Happy Reunion
14. The Shepherd (Who Watches Over the Night Flock)
15. Sophisticated Lady

This wonderful recording opens on the upbeat and joyful Happy Anatomy and the sultry and erstwhile Flirtibird, and they are followed by the languishing Rocks in My Bed, the playfully flirtatious Echoes of Harlem aka Cootie’s Concerto, the rhythmic Addi, and then come both the embracing Blood Count and the forthright Juniflip.

Along next is the sumptuous Azalea and the studious La Belle Plus Africaine, and they are in turn backed by the free-flowing Caravan, the triumphant Frustration, the low slung, at first, latterly perky and strident I’m Gonna Go Fishin’ aka Main Title of Anatomy of a Murder, the collection rounding out on the dulcet tones of Happy Reunion, the intricate piano work of The Shepherd (Who Watches Over the Night Flock), closing on the flourishing Sophisticated Lady.

Planet D Nonet:
James O’Donnell trumpet, flugelhorn, vocals & maracas, co-leader
Charlie Miller, trumpet, flugelhorn
John “Tbone” Paxton, trombone, vocals
Alex Colista, alto sax, clarinet
Christopher Tabaczynski, tenor sax & clarinet
Goode Wyche III, bari, alto saxes
Michael Zaporski, piano
Trevor Lamb, string bass (except 1 & 3)
Sean Perlmutter, drum set, cowbell
RJ Spangler, congas, small percussion instruments, bandleader

Special guests:
Camille Price, vocal
Kurt Krahnke string bass tracks 1 & 3

Official Purchase Link

For those unaware, Rosemary Loar’s influences are eclectic. Her first five years in New York City were spent performing a critically acclaimed jazz cabaret act, where she wrote the arrangements and broke new ground in what was then, a very homogenous venue. She left cabaret to go the the bigger stages of Broadway but has since returned.

Her cabaret show When Harry Met The Duke was given a rave by BroadwayWorld.com which said the show was “Out of this world” and “Loar.. has managed to come up with yet another variation, (on The Great American Songbook) and her erudite and accessibly sophisticated new show featuring wonderful jazz, pop, and Broadway songs from the 1930s-’50s goes down well like a delicious vodka martini topped with a skewer of blue cheese-stuffed olives.”

More recently Loar had her Joe’s Pub Debut with her latest cabaret creation “STING*chronicity:v Loar doesn’t simply rearrange numbers; she re-contextualizes them, morphing into a series of characters that sing each song as it arises out of an imagined situation.”

As a commercial recording artist she can be heard on Sting’s soundtrack for the movie The Emperor’s New Groove, the cast albums of Chess and Sunset Boulevard and on the Listening Library series. Her debut CD of original music Alternative Torch was released in 1996, her second, Through Women’s Eyes was produced in 1997 to benefit Susan G. Komen Foundation. Water From The Moon released in 2003 is also the score of Rosemary’s original rock musical by the same name: produced by the Grammy award winning Joel Moss (soundtrack for Chicago).

She produced and wrote all the vocal and string arrangements for her fifth CD Indigo and Iridescent Rosemary’s songs have been featured on NBC’s The Today Show, on The Lifetime Network, at Town Hall, Joe Franklin and Joan Hamburg shows, at the UN Fourth Conference for Women in Beijing and in the documentary Our Daughters, Our Future narrated by Hillary Rodham Clinton.

The release of Rosemary’s fourth CD, The Quando Swing punctuated her return to the jazz-cabaret scene in 2006 and features standards with a modern take. For Rosemary Loar, jazz is a smorgasbord, a feast of incredible tastes and textures. STING, STANG, STUNG, SWINGING THE MUSIC OF STING is a live recording of her critically acclaimed tribute to the pop icon Sting’s music.

With Rosemary having redefining the intersection between Jazz and the American songbook, we are next to be graced with her brand new recording, entitled Coração Vagabundo [aka Vagabond Heart].

Coração Vagabundo is the latest example of Ms. Loar’s lifelong love of jazz, elegantly showcasing her ability to infuse the genre with international influences and traditional cabaret.

1. Coraçāo Vagabundo
2. Just A Fairy Tale
3. Get Out Of Town
4. Midnight Sun
5. Your Turn To Be Brave
6. You Taught My Heart To Sing
7. Fascinating Rhythm
8. La Belle Dame San Regret
9. I Don’t Want To Know For Sure
10. Show Me
11. I Fall In Love Too Easily
12. Cool

This vibrantly-hued, aesthetically pleasing new recording opens on the delicately-hued Coraçāo Vagabundo and the ornately sculpted Just A Fairy Tale and then brings us the luscious gossamer of Get Out Of Town, the sheer elegance within Midnight Sun, and then we get both the gracefully playful Your Turn To Be Brave and then her vocal expertise comes to the fore on the harmonica-hued You Taught My Heart To Sing.

Along next is the free-flowing Fascinating Rhythm and the finely-spun La Belle Dame San Regret and they are in turn followed by the refined I Don’t Want To Know For Sure, the gently perky Show Me, the album rounding out on the veritably opulent I Fall In Love Too Easily, closing on the upbeat and jaunty Cool.

Official Website

For those unaware, one of the baddest, meanest, most unsung heroes of classic rock, Cactus, recreate their greatest moments with the help of their many admirers and acolytes here on the just-released new recording, Temple Of Blues.

Includes founding Cactus members, drummer Carmine Appice and guitarist Jim McCarty, joined by the likes of Joe Bonamassa, Ted Nugent, Billy Sheehan, Bumblefoot, Dee Snider, Pat Travers plus members of Gov’t Mule, Vanilla Fudge, Living Colour, Vixen and more!

What has already been heavily promoted far and wide is a full concept video for the first track released “Evil” that features video performances by the guests Dee Snider and Dug Pinnick as well as Appice and McCarty!

1. Parchman Farm [feat. Joe Bonamassa & Billy Sheehan] (3:06)
2. Brother Bill [feat. Randy Jackson, Randy Pratt & Bob Daisley] (4:50)
3. Guiltless Glider [feat. Ron Bumblefoot Thal & Phil Soussan] (6:12)
4. Evil [feat. Dee Snider & Dug Pinnick] (3:17)
5. One Way...Or Another [feat. Dug Pinnick & Ted Nugent] (5:09)
6. Alaska [feat. Johnny A & Tony Franklin] (3:45)
7. No Need To Worry [feat. Warren Haynes & Jorgen Carlsson] (6:13)
8. Oleo [feat. Steve Stevens & Billy Sheehan] (4:03)
9. Big Mama Boogie [feat. Pat Travers & James Caputo] (6:18)
10. You Can’t Judge A Book By The Cover (5:26)
11. Rock N’ Roll Children [feat. Britt Lightning, Vernon Reid & Rudy Sarzo] (6:25)
12. Let Me Swim [feat. Doug Aldrich & Marco Mendoza] (4:27)
13. Restrictions [feat. Ty Tabor & Phil Soussan] (6:16)
14. Long Tall Sally [feat. Mark Stein & Fernando Perdomo] (5:09)
15. Guiltless Glider [feat. Tim Ripper Owens] (6:12)

This massively pulsating, and yet always melodically pleasing, new recording opens on the frrenetic Parchman Farm (featuring Joe Bonamassa & Billy Sheehan) and the low slung, harmonica-driven Brother Bill (featuring Randy Jackson, Randy Pratt & Bob Daisley) and then brings us the drum-led rocker Guiltless Glider (featuring Ron Bumblefoot Thal & Phil Soussan), the rocking blues of Evil (featuring Dee Snider & Dug Pinnick), and then come the trio of the guitar fest that drives One Way...Or Another (featuring Dug Pinnick & Ted Nugent), the mid-tempo rambler Alaska (featuring Johnny A & Tony Franklin) and the aching guitar yearn of No Need To Worry (featuring Warren Haynes & Jorgen Carlsson).

With the shredding Tom Beckham, the rock-solid Matt Pavolka on bass and “six-arms” Moses Patrou on percussion, along next is the foot-tapping delights of Oleo (featuring Steve Stevens & Billy Sheehan) and the all-embracing, harmonica-driven Big Mama Boogie (featuring Pat Travers & James Caputo) and they are in turn backed seamlessly by the grooved You Can’t Judge A Book By The Cover, the flat out blues rocker Rock N’ Roll Children (featuring Britt Lightning, Vernon Reid & Rudy Sarzo), the shredding guitar rock of Let Me Swim (featuring Doug Aldrich & Marco Mendoza), the rhythmic Restrictions (featuring Ty Tabor & Phil Soussan), the set closing on a guitar-honed cover of the Beatles’ Long Tall Sally (featuring Mark Stein & Fernando Perdomo) and the pounding Guiltless Glider (featuring Tim Ripper Owens).

Official Purchase Link

www.cactusrocks.com

For those unaware, rekindling the familiarly flowing interplay with fellow travelers Thomas Morgan and João Lobo – the trio’s musical partnership goes back over a decade at this point – on A New Day Italian pianist Giovanni Guidi moreover expands the group’s instrumental grasp with the introduction of American saxophonist James Brandon Lewis, who makes his ECM debut here.

Not only is the ensemble scope widened; with Brandon Lewis in tow, new dialects and fresh perspectives are broached, and different instrumental paths taken, inspired by an overall heightened sense of communication and Lewis’s unmistakable, confident tone.

Recorded at Studios La Buissonne, Southern France, in August 2023, the album was produced by Manfred Eicher.

1. Cantos Del Ocells
2. To A Young Student
3. Means For A Rescue
4. Only Sometimes
5. Luigi (The Boy Who Lost His Name)
6. My Funny Valentine
7. Wonderland

This beautifully sculpted new recording opens on the delicately-hued Cantos Del Ocells and then we get the aching, pensive yearn found within To A Young Student and my own personal favorite, the flirtatiously emboldened Means For A Rescue.

Along next is the quietly furtive Only Sometimes which is itself backed seamlessly by the veritably cinematic Luigi (The Boy Who Lost His Name), the recording rounding out on the gently rhythmic My Funny Valentine, closing on the all-embracing nature of beauty that thrives within Wonderland.

Lucian Ban and Mat Maneri bring the music of Transylvanian Dance on the road in the months ahead, with concerts on both sides of the Atlantic.

www.giovanniguidi.it

For those unaware, this concert recording from Munich’s Schwere Reiter performance space features improvisation with an expanded palette of possibilities.

“To work with these colours is a great challenge and joy!” says bassist Barry Guy of the glowing and ever-changing tints, timbres and tones radiating from Jordina Millà’s freely associative piano.

Like Guy, Millà is both a player of prodigious technical capacity and a fearless improvisational explorer, and her highly creative use of the piano interior opens up new sonic territory, to fascinating result.

1. Part I
2. Part II
3. Part III
4. Part IV
5. Part V
6. Part VI

Recorded in February 2022 at Schwere Reiter, München, this masterfully impassioned new recording opens on the sumptuously all-encompassing 22 minute opener and a dutifully embodied Part II, before bringing us a rather concise four minute Part III, the free form originals continuing with a wide dynamic range of tonality within Part IV, the set culminating on a veritably plucked Part V and the jauntily scratchy Part VI.

www.jordinamilla.com

For those unaware, Outpost of Dreams introduces a new duo. Norma Winstone, as always quietly innovative as jazz singer and lyricist, brings her vocal subtlety and poetic sensibility to new pieces by Kit Downes, and to compositions by Carla Bley, Ralph Towner, and John Taylor

The programme is completed with fresh perspectives on two traditional tunes, “Black Is The Colour” and “Rowing Home.” Throughout Downes offers elegantly phrased accompaniment and adventurous interjections.

Outpost of Dreams was recorded in Udine in April 2023 and is out now via ECM Records.

1. El
2. Fly The Wind
3. Jesus Maria
4. Beneath An Evening Sky
5. Out Of The Dancing Sea
6. The Steepe
7. Nocturne
8. Black Is The Colour
9. In Search Of Sleep
10. Rowing Home

Recorded at the Artesuono Recording Studio, Udine, this breathtakingly sublime new recording opens on the delicate gossamer that breathes within El and the playful Fly The Wind and then we are given the late night, smokey jazz club appeal of Jesus Maria, the sweeping Beneath An Evening Sky, and then comes the sheer enigmatic beauty that is Out Of The Dancing Sea.

Along next are the wispy notations that come together to form The Steepe and the languishing Nocturne and they are in turn backed by the precise nature of creation that is Black Is The Colour, the album rounding out on the free flowing In Search Of Sleep, closing on the ornately sumptuous Rowing Home.

www.normawinstone.com

Renowned indie-rock outfit Joywave have announced their long-awaited fifth studio album, Permanent Pleasure, will be released on May 17th, 2024.

The band revealed the official artwork and track list alongside the release of their new single, “Scared,” from the forthcoming album.

The accompanying music video for “Scared”, directed by Dimitri Basil, features the misadventure of the band’s enigmatic feline companion. You can watch all the action below.

Permanent Pleasure was written by Joywave (Daniel Armbruster, Paul Brenner, Joseph Morinelli), produced by Armbruster, and recorded at The Joycave (Rochester, NY) and the University of Rochester’s Gavett Audio Studio.

Side A:
1. Graffiti Planet
2. Scared
3. Brain Damage
4. He’s Back!
5. Sleepytime Fantasy

The first side opens on a Mayor-spoken PSA for a Rochester town, along with the Rochesterian band and their music contained within the pop-impassioned one minute, jauntily gritty the next, Graffiti Planet and the strident Scared and they are followed by the veritably cinematic Brain Damage, the triumphantly-skewed, pop delight that drives He’s Back! and the aptly-named, languishing Sleepytime Fantasy.

6. Swimming In The Glow
7. Hate To Be A Bother
8. 787 Dreamliner
9. Splendor
10. Here To Perform The Final Song From Their Album Permanent Pleasure, Please Welcome...Joywave

Flipping the vinyl LP over, and up next is the fluttering, glistening pop-rocker Swimming In The Glow and the alt-pop sensibilities within the foot-tapper Hate To Be A Bother, and they are in turn backed by the reaching, alt-hued 787 Dreamliner, the ethereally-imbibed, mid-tempo ballad Splendor, the album closing on the shimmering synth pop gem Here To Perform The Final Song From Their Album Permanent Pleasure, Please Welcome...Joywave (complete with an unexpected vaudeville exit).

While fans wait for Permanent Pleasure to be unleashed into the world in May, Armbruster offered a glimpse into the album’s thematic universe saying, “Permanent Pleasure. A decade in the sunbeam. A unique vantage point. Our job has become to sit and think. To experience and react. The album is really 10 thoughts from Joywave’s beam. We’ve blown apart the cohesiveness of Cleanse and brought back more variation in sonic palette while simultaneously making a guitar and string forward record (less keys), but we’ve kept the advances in songwriting we’ve made along the way.”

“It’s a bit more all over in the way How Do You Feel Now? was but with the songwriting we’ve come to be known for over the last several albums. I think most of the lyrics are taking place in the light as well, not loads of metaphors. Quite a bit more personal. The album is Joywave’s ‘whatever we want to do, whenever we want to do it’ at its best, and we loved the idea of the temporary state of the band name maturing into this album title.”

Official Purchase Link

www.joywavemusic.com