Vinicius de Moraes, Toquinho & Maria Creuza: "Toque do Brasil" released today in Europe

Released today in Europe by the Italian label Halidon!

To order, please visit:

http://www.amazon.co.uk/gp/product/B0046Q3ABK/ref=dm_sp_alb

R.I.P.: Albertina Walker

(born August 29, 1929, in Chicago, USA;
died October 8, 2010, in Chicago, USA)

Gospel legend Albertina Walker has passed away. Per the Chicago Tribune “Albertina Walker, the Grammy-winning vocalist known around the world as the “Queen of Gospel” who helped launch some of the biggest names in traditional gospel through her vocal ensemble, the Caravans, has died. She was 81.
Walker died of respiratory complications Friday morning at RML Specialty Hospital in Chicago.” An amazing and charismatic vocalist, Albertina has left her definitive mark on gospel music.
She won a Grammy in 1995 for "Songs of the Church: Live in Memphis," and the following year she co-produced the debut solo album of Faith Howard ("He's Got Everything"), which became the last CD issued in the USA on CTI's subsidiary label Salvation Records, headed by legendary jazz producer Creed Taylor.
**********
http://www.the-savvy-sista.com/2010/10/services-set-for-gospel-great-albertina.html

Memorial services have been set for gospel music great Albertina Walker, who died Friday in a Chicago hospital from respiratory complications. She was 81.
Visitation will be held from 9 a.m. to 6 p.m. CST, on Thursday at West Point Baptist Church on South Cottage Grove Avenue in Chicago, followed by a musical celebration at 7 p.m. at Apostolic Church of God on South Dorchester Avenue.

On Friday, there will be visitation at 10 a.m. CST, followed by a service at 11 a.m. at West Point Baptist Church.

President Barack Obama released the following statement Sunday regarding Walker's death:

"Michelle and I are saddened by the passing of gospel great Albertina Walker. Growing up on the South Side of Chicago, she started singing in her church youth choir at just 4 years old where she learned to spread the 'Good News' through song. She also performed before President Bill Clinton and was honored at the White House by President George W. Bush for her contributions to Gospel music. And she never forgot to give back, impacting her community through the Albertina Walker Scholarship Fund and many other charitable endeavors."

"Ms. Walker's voice and message has touched congregations across the nation," Obama's statement continued. "Though we have lost an American icon, her influence on gospel music will continue for generations. Our thoughts and prayers are with her family and the countless lives she touched."

U.S. Rep. Bobby Rush (D-Ill.) said in a statement that Walker was a voice for the civil rights movement whose voice was "a healing balm to those who struggled for justice."
***********
http://www.latimes.com/news/obituaries/la-me-albertina-walker-20101009,0,5860384.story

Albertina Walker dies at 81; Grammy-winning 'Queen of Gospel'
She helped launch some of the biggest names in traditional gospel through her vocal ensemble the Caravans.
Albertina Walker was nominated for multiple Grammy Awards, winning best traditional soul gospel album in 1995 for “Songs of the Church: Live in Memphis.”
By Howard Reich, Chicago Tribune
October 9, 2010

Albertina Walker, the Grammy-winning vocalist known around the world as the "Queen of Gospel" who helped launch some of the biggest names in traditional gospel through her vocal ensemble the Caravans, has died. She was 81.

Walker died of respiratory complications Friday morning at RML Specialty Hospital in Chicago, said Pam Morris, who coordinated the Chicago Gospel Music Festival for 20 years through 2009.
The singer had been hospitalized since Aug. 29, her 81st birthday, having long suffered from emphysema.

Gospel music icons such as Inez Andrews, Shirley Caesar, James Cleveland, Bessie Griffin and Dorothy Norwood established their careers in the Caravans, who achieved wide fame in the late 1950s, headlining at Carnegie Hall and other high-profile venues.

Through the Caravans, Walker popularized the music she heard growing up on the South Side of Chicago; and the celebrated ensemble in turn made her a legend.

"She was the star-maker," said Norwood, who joined the Caravans in 1954. "She was a great singer — one of the greatest."

Walker played her last major performance in June with a reunited version of the Caravans at the Chicago Gospel Music Festival.

The youngest of nine children, Walker was born in Chicago and reared in the heart of Bronzeville, where generations of African Americans converged during the Great Migration. The vast demographic wave made the South Side an epicenter of jazz, blues and gospel, with Walker — and countless others like her — absorbing black cultural traditions through prayer.

"I grew up going to church," Walker said in 1993. She heard the greatest singer in gospel history, Mahalia Jackson; the founder of modern gospel music, Thomas A. Dorsey; and choirs of such magnificence as to persuade her to pursue the music as her life.

She learned early on that the pay would be slight, or nonexistent. Nevertheless, Walker flourished in Chicago gospel singer Robert Anderson's group, taking over the ensemble when he retired and christening it the Caravans (because "we had people from Gary, East Chicago, South Side, West Side, all over," she said in 2003).

By the mid-1950s, the Caravans began to acquire a national following, setting a new standard for female gospel singing. Never before had so many women who towered as soloists met up in a single ensemble.

Yet it was Walker's decision to yield the spotlight to her charges that propelled these careers.

By the late 1960s, Walker was married and retired from touring, but she eventually returned to the road, singing and recording prolifically. She was nominated for multiple Grammy Awards, winning best traditional soul gospel album in 1995 for "Songs of the Church: Live in Memphis."

"The Lord lets me sing," she told the Chicago Tribune in 2004. "The only time I'll stop is when the Lord says."

Don Sebesky interviewed by Jason Crane

(Don Sebesky & Ron Carter in 1973, during the heyday of their CTI years)

Don Sebesky is Jason Crane's guest today on "The Jazz Session" show, talking about the 4-CD box set "CTI Records: The Cool Revolution," recently released by Sony Masterworks.
Listen here:
http://thejazzsession.com/2010/10/11/the-jazz-session-207-don-sebesky-cti-records/

Press-release:
TJS #207: Don Sebesky (CTI Records). Grammy and Tony award winner Don Sebesky wrote and arranged music for many of the classic CTI recordings. You can hear his work on a new boxed set, CTI: The Cool Revolution (Sony Masterworks, 2010). In this interview, Sebesky talks about how CTI got started and how it developed its signature sound; his experience working with Wes Montgomery, Jim Hall, Paul Desmond, Grover Washington, Jr. and many others; and why he still considers his time at CTI one of the best periods of his musical career.

Jason Crane's first book of poems, "Unexepected Sunlight" (FootHills Publishing, 2010), is now available at http://jasoncrane.org/store

"Estonia"

at this time of year
the sun can't make up its mind
holding off the night like a spurned lover

confused bees circle the petals
of flowers that reach for the dusky sky
pining for light

this is the season when all lovers tremble
when every park bench is an altar
and hearts are laid bare for the taking
*********
This week on the show: Don Sebesky (TJS #207, Monday) and Blue Cranes (TJS #208, Thursday).
Next week: Danilo Perez (TJS #209, Monday) and Mario Pavone (TJS #210, Thursday).

CD of the Week - "Domenic Landolf: New Brighton"

CD of the Week
Domenic Landolf: "New Brighton" (Pirouet) 2010

Produced by Jason Seizer
Featuring: Domenic Landolf (tenor saxophone, bass clarinet, alto flute), Patrice Moret (acoustic bass) & Dejan Terzic (drums, glockenspiel)

Tracklist:
Lehar
Storm Chaser
Les Bouts du Monde
W.E.
Calling the Spirits
Cho Oyu
Enchanted Beans
Fjord
Kululeka
Malstrom
New Brighton
The Beatles Go East
My Old Flame

Domenic Landorf - a wide-ranging instrumentalist - presents music of riveting beauty and a piano-less trio that plays with intimate intensity. Thirteen pieces that hold the listener spellbound. Magical moments appear out of thin air. Captivating moments with a quirky magic that enchants the listener and holds him spellbound. Besides the creative originals, there's a respectful short take on the standard ballad "My Old Flame."

Musician, composer, and conservatory professor Domenic Landorf was born in Bern, Switzerland in 1969. From 1988 to 1992 he studied at the Swiss Jazz School in Bern under the Swiss saxophonist Andy Scherrer. He also plays in Scherrer's sextet. Landorf is counted among the "Swiss jazz elite". Along with saxophone, he plays clarinet, bass clarinet, and flute. His debut CD as a leader on Pirouet, "Wanderlust," was released in 2003 and included Jean-Paul Brodbeck on piano and Fender-Rhodes, Fabian Gisler on bass, and Dominic Egli on drums. His second Pirouet CD, "New Brighton," in trio with bassist Patrice Moret and drummer Dejan Terzic, is now available. Domenic Landorf teaches saxophone at the Basel Music Academy. He has lived in Basel since 1995.

Spiritual Events this week in the LA area

Spiritual Events this week in the LA Area

S.F.V./GLENDALE/BURBANK
For Full Details: http://www.facebook.com/l/b0ab7lABFEu4bYytgExlhwQAwZg;https://www.spiritualeventsla.com/Glendale_Burbank.html

* Reiki Circle
* Reiki,Level One
_______________________________________
LOS ANGELES
For Full Details: http://www.facebook.com/l/b0ab7xZNDw2P5CExFvfl-C73tVQ;https://www.spiritualeventsla.com/Los_Angeles.html

* FINDING YOUR SOUL PURPOSE
* Victorian Glass Seance Group
* Full Moon Astrology Talk & Ritual
* Module: Feng Shui Basics
* Reconnective Kids! event with Holly Hawkins
* Reiki I (CE) 1st Level Class in the Usui Method of Healing
* Book Signing and Presentation w/ Dr. Tamara Martynova “ZY QiGong”
* Module 2: Form and Shape
* Channeling w/ The Wonders
* Reiki Healer - Reiki Level I - Full Day Workshop
* Healing Demonstration - Now Healing 101
* Intro to Tarot workshop with Marcella Kroll
* Chanting with Cooper, Sheela and friends
* JOIN THE HEALING EXCHANGE
* "Journaling for Self-Empowerment" workshop with Ila Sender
* The Artist's Way Workshop
* CYH-Alternative Health Networking Mixer
* Theta Manifesting Night
* Ask a Medical Intuitive Series
* Workshop w/ Anna Jacobs "Manifesting with the Angels"
* "Past Lives, Dreams & Soul Travel"
* Drumming Circle
* Energy Compatibility in Your Relationships
* Building Wealth With Feng Shui
* Workshop with Greta Hassel "Ignite Your Fire"
* Conscious Life Expo
* Group Channeling Circle for October
* LIFEChanges LIVE!
* Book Signing with Dr. Kathryn Weston “Take Charge! A Pocket Guide for Coping with Life”

________________________________
PASADENA
For Full Details: http://www.facebook.com/l/b0ab7F5TWWvLBNv8uAemhh42dDg;https://www.spiritualeventsla.com/Pasadena.html

* ASCENDED MASTERS, ARCHANGELS AND THE SEVEN RAYS
______________________________
ORANGE COUNTY
For Full Details: http://www.facebook.com/l/b0ab7Az7XAx3BN7tV9czVWYcO9Q;https://www.spiritualeventsla.com/Orange_County.html
* Special Event: Kabbalah Seminar
* Weekly Meditation Experience
______________________________

Follow us for daily updates on Twitter:
http://www.facebook.com/l/b0ab7Uvt8_u1Gfm4hK99QwURL5Q;www.Twitter.com/SpiritEventsLA

Anna Mjoll live @ Baked Potato, this Sunday

Anna Mjöll will be performing @ The Baked Potato (3787 Cahuenga Blvd., Studio City, CA) this Sunday, October 10.
9 and 11PM shows - call (818) 980-1615 for reservations

Anna Mjöll / vocals
Mike Miller / guitar
Steve Hass / drums
Edwin Livingston / bass

Adding songs like "Pannonica," "Freddie Freeloader," "A Night in Tunisia," "Monk's Dream," "Nature Boy" and Antonio Carlos Jobim's "Inutil Paisagem" (singing Aloysio de Oliveira's original Portuguese lyrics) to her impeccable repertoire.

"Icelandic jazz vocalist Anna Mjöll has developed a considerable buzz in L.A, selling out two nights of recent weekend shows at Vibrato. Sunday night finds her backed by her best ensemble yet, this time for a gig at The Baked Potato. The lineup includes Mitchel Forman on keys, Edwin Livingston (Natalie Cole) on bass, Steve Hass (Manhattan Transfer) on drums, and Mike Miller (a veteran of Bette Midler's recent extended run in Las Vegas) on guitar - plan on arriving early for seats on what's likely to be the busiest Sunday night in some time at the Studio City club." -Tom Meek, LAJazz.com

Cuban percussion wiz Melena live @ Steamers

BACK BY POPULAR DEMAND!
MELENA & HER LATIN JAZZ BAND
WITH RAMON BANDA, CARLOS ORDIANO, EDGAR HERNANDEZ, BRIAN SWARTZ AND KAMASI WASHINGTON
LIVE @ STEAMERS THIS FRIDAY, OCT 8

Steamers Jazz Club and Cafe
138 W. Commonwealth Ave
Fullerton, CA 92832
Ph: (714) 871-8800
Music is in her blood. Shaped from the rhythms that dance through her veins, Melena Francis Valdes, born in Havana Cuba, has mastered the traditional rhythms that have traveled from Africa to Cuba, to the dance floors of America. Her Afro/Cuban sound is a conversation of me...lodies which she plays with fierce passion, whether on Congas, Timbales, Batas or a range of other percussion instruments. As her musical vision is broad, she combines her talents with those of some of the most accomplished musicians performing today in genres that range from Jazz to Pop.

Melena's formal training began on the drums when she was a teenager. Master percussionist Luis Conte was instrumental in shaping her early development. In 1988, Melena returned to Cuba for the first time since leaving as a child. While in Cuba, Melena studied with the "Conjunto Folklorico Nacional de Cuba". She has also studied with the legendary percussionists and folklorists Mario Jauregui, Regino Jimenez and Lazaro Ros. This experience gave her a solid foundation, offering her a unique sound which is distinctly her own.

During the years 1989 through 1994, Melena started to sit in with various local Latin groups in Los Angeles. Papo Conga was a most essential and important mentor. He first hired her on Congas and later on timbales giving her the opportunity to develop her skills as a percussionist. In 1995, Melena began to work with the late Kenny Kirkland and Jeff "Tain" Watts in a band designed to feature her abilities and that of bassist Nedra Wheeler. This era proved to be a turning point in that it challenged her desire to reach for greater dimensions and expand her percussion abilities in a jazz setting. In the following year, Melena would be found on a world tour with Barry White, which continued for two years.

In August of 1997, Melena returned to Cuba to continue her studies for six months. Her stay in Cuba afforded her the privilege of studying with Roberto Vizcaino Guillot, Miguel "Anga" Diaz, Jose Miguel Melendez and with Master percussionists of Conjunto Clave y Guaguanco. Upon returning from Cuba, Melena recorded a PBS special with John Tesh in Europe called, "One World". From there she toured with Pop/R&B vocalist Macy Gray followed by Julio Iglesias.

In the fall of 2000, Melena returned to Cuba for the third time. This time she traveled to Matanzas and focused her studies on bata drums with Master Daniel Herrera. In Havana she studied congas with Yaroldy Abreu and Adel Gonzales, percussionists with Chucho Valdes and Irakere. Jose "Pepe" Espinosa, percussionist with the Afro Cuban All Stars is also a good friend and mentor. She also had the privilege of playing with the group Irakere as well as several of the local Timba groups in Havana.

In May 2002 Melena conducted a clinic and concert performance at the Percussion Festival in San Juan Puerto Rico. Backup musicians for her live performances included Eric Figueroa, piano and musical director of Batacumbele. She also had the opportunity to play with friends like Richie Flores, Paoli Mejias and Javier Oquendo.

In the year 2004 Melena toured internationally with Latin Pop Artist, Chayanne. In 2005, Melena had the wonderful opportunity to perform at the NBA Finals and several live concerts with the legendary Stevie Wonder. Melena was also blessed to share the same stage with her biggest inspiration, Giovanni Hidalgo. Melena performed with her Afro Cuban band at the Ninth Annual Brownsville Latin Jazz Festival in Texas and also conducted a clinic at the Brownsville University. In 2006, Melena recorded with Peru Negro and was a guest musician on a Live DVD recording with Eva Ayllon. In addition, Melena conducted a master class and performance at the 2006 Montreal Drum Festival. In 2008/2009, Melena peformed alongside JC and Tor Dietrichson and gave two Master Classes at the Seattle World Rhythm Festival.

In 2009, Melena was a featured percussionist on the Fox Television Hit "Prison Break" dancing and playing congas alongside actor Amaury Nolasco. Melena is also a featured percussionist with singer/songwriter Janel Parrish, who plays Jade on the Bratz movie.

Her dream is to travel the world and to be a major contributor to the Afro/Cuban music legacy, sharing the richness of this culture with others. Festivals she has performed in the past fronting her own Cuban Jazz Band include: Jazz at Drew, African Village Festival, Latin Music Festival, Puerto Rico Percussion Conservatory, Montreal Drum Festival, Altadena Summer Concert, and more. Melena also conducts workshops and clinics nationally and internationally. She has specialized her studies in the Afro-Cuban tradition and on the Sacred Bata Drums and has taught her students the importance of the history and knowledge of Afro-Cuban drumming and language of the Batas. Melena is someone to be recognized as one of the most accomplished and proficient female percussionist in the music community.

Obama: "Did you see Michelle's note?"

Dear Arnaldo:

According to our files, you are currently living in California's 3oth congressional district. November 2nd is a test that will determine our future -- your future, the future for my two daughters, and the future of this country.

But at this crucial moment, our opponents have made it clear they are not willing to move forward.

They want you to believe this election is a referendum on me, or on you -- on anyone but them. They want you to tune out, forget about 2008, and stay home.

But this movement came together because we knew that if we kept fighting, kept working, kept believing -- we could create change, even in the face of incredible odds.

So today I need you to remember why -- in spite of difficulty or uncertainty -- we will always choose to stand and fight. We will never give up.

Earlier this week, Michelle asked you to help us keep going by donating to Organizing for America.

Because a fellow grassroots supporter has pledged to match your donation, right now your $3 will become $6.

It will go twice as far in helping us implement our Vote 2010 strategy -- talking to more voters, making more phone calls, and knocking on more doors in the most ambitious campaign ever run in an election like this.

Will you answer this call by making a $3 donation today?

For the last decade, Republicans in Washington acted on a simple philosophy: cut taxes, mostly for millionaires and billionaires, put blind faith in the market, and let people fend for themselves.

That philosophy failed, and millions of families are still struggling because of that failure of leadership.

But when I came to Washington, my hope -- and the hope of millions of Americans -- was that Republicans would accept my offer to come to the table, to hear all sides of an argument, and work together to move our country forward.

Their leaders had a different plan: Say no, over and over again, to every idea I had in order to better their chances in this election.

One thing became clear: We cannot count on them.

We cannot count on them to do the right thing over the politically expedient thing. We cannot count on them to dig in and help solve the incredibly difficult problems facing this nation.

So make no mistake: This election is a choice.

And corporate special interests have made theirs clear: They're spending hundreds of millions of dollars to elect Republicans who want to return to the policies that favored the wealthy minority -- and set us back as a nation.

But we're here to move America forward.

And because you stood up and said "Yes we can," every single one of you is now a shareholder in our mission to rebuild our country.

Because we didn't walk away when folks said we couldn't win in 2008. We didn't walk away when they said we couldn't overcome the cynics and special interests and finally enact comprehensive health insurance reform.

We didn't walk away because the great blessing and burden of this nation is that we have the power to shape our future.

That's the America I know and believe in. That's why I get up and go to work every day.

And we can't walk away now.

So if you're willing to step up to the plate today, and stay fired up through November 2nd, there's another chapter in the story of this movement, and we're going to write it ourselves -- one phone call, one door knock, one donation at a time.

Please donate $3 today:
https://donate.barackobama.com/OctoberMatch

Thanks for standing with me,
President Barack Obama

Sony Holland live in LA, tonite, celebrating the release of "Sanssouci"

If you're in the LA area tonight, don't miss the CD release show of Sony Holland's new delightful album, "Sanssouci," at the First & Hope Downtown Supper Club (it's just across from Disney Hall) this Thursday, October 7 @ 7:30pm.
Featuring Sony Holland (vocals), Jerry Holland (guitars) and drummer/percussionist Kenny Davis. "Kenny is a dear friend, who has played drums with Miles Davis, Thelonius Monk, Sonny Rollins, Lena Horne, Charles Mingus and Nancy Wilson to name a few," Sony says. "It's going to be fun!"

They play one set only, 7:30-8:30. For reservations, please call: (213) 617 8555
First & Hope Downtown Supper Club
West 1st Street @ Hope, Downtown LA, 90012
http://www.firstandhope.com/

Steps away from Walt Disney Concert Hall and the LA Music Center, First & Hope Supper Club is a pre-theatre dining, live music and culinary destination in downtown Los Angeles offering modern American comfort food, handcrafted cocktails, late night hours and a nostalgic late 40s / early 50s ambience.

A miracle: "Stonebone" available on Ebay!

http://cgi.ebay.com/J-K-Stonebone-A-M-KING-330-J-J-Johnson-Kai-Winding-/280571177769?pt=Music_on_Vinyl&hash=item4153586b29

Considered by CTI expert Doug Payne as "the holy grail of CTI albums," it's available on Ebay.
The seller says his copy has no OBI, though. Anyway, a miracle. A very expensive one.

J.J. Johnson & Kai Winding: "Stonebone" (A&M/CTI) 1970

One of the rarest albums in the CTI history. The last LP of Creed Taylor's association with the A&M label. Never released outside Japan. Never reissued on CD not even in Asia.
Also the last collaboration between the genius Pete Turner (my favorite photographer in the world) and Sam Antupit (the album designer during the A&M/CTI era).
Excellent liner notes by the master Ira Gitler, the top jazz historian along with the late Leonard Feather.
Two intriguing J.J.Johnson's tunes - "Musing" and "Mojo" - plus an extended funky version of Rudy Stevenson's "Dontcha Hear Me Callin' To Ya?" and a typical Joe Zawinul fusion theme, "Recollections" (Kai Winding quotes the Beatles' "Ob-La-Di, Ob-La-Da" during his inspired solo). Bob James, who plays celeste on the track, arranged "Recollections"; all others were scored by J.J. Johnson.
Featuring: George Benson, Herbie Hancock, Bob James, Ron Carter, Grady Tate and Ross Tompkins. Engineered by Rudy Van Gelder.

For more infos and pics:
http://jazzstation-oblogdearnaldodesouteiros.blogspot.com/2008/12/vinyl-of-day-j-stonebone.html

Win tix to Phoenix w/ Dirty Projectors

Other Music is giving away two pairs of tickets to this fantastic triple bill, featuring French pop masters Phoenix with Brooklyn's own Dirty Projectors and West Coast King of the Beach Wavves, who will all be playing at Madison Square Garden on Wednesday, October 20th. To enter, just email tickets@othermusic.com and they'll notify the two winners on Monday, October 11.

WEDNESDAY, OCTOBER 20
MADISON SQUARE GARDEN
Four Pennsylvania Plaza
(7th Avenue between West 31st St and West 33rd St)
NYC, NY

Sunday: Get fired up in Goleta

Arnaldo:

The "enthusiasm gap" is shrinking fast.

A lot of the Washington, D.C. pundits claim you don't care about this year's election -- that the right-wing is more invested in what happens to our country than you are -- but you and I know better.

When 26,500 fired-up Americans showed up to hear President Obama speak in Wisconsin two weeks ago, there was no enthusiasm gap. And when folks like you make calls and knock on doors to get folks to commit to vote this week, there will be no enthusiasm gap.

Click here to RSVP for a voter contact event in Goleta?

Here are the details:
What: Vote 2010 Event
Where: Beachside Bar Cafe
5905 Sandspit Road
Goleta, CA 93117

When: Sunday, October 10th
1:00 pm

If you can't make that event, see if there's another one near you.

President Obama has often reminded us that change doesn't happen overnight -- and there's good reason to be fired up. This movement -- along with the President and his allies in Congress -- has helped employ three million Americans and passed important reforms for health care and Wall Street. Now we're working together to pass immigration reform, create green jobs, and repeal Don't Ask, Don't Tell.

Compare that record to the Republican candidates who are promoting the same agenda that drove our economy off a cliff, demanding that we return to the failed policies of the past.

Like Joe Miller, the Alaska Republican Senate nominee who has called for the elimination of the minimum wage. Or Rob Portman, running for Senate in Ohio, who helped shape the Bush Administration's economic policies.

And at least five Republican Senate nominees have said they would support getting rid of the Department of Education.

These people are not some fringe candidates -- they are the new Republican mainstream. And we cannot let them win.

But we need you to join other volunteers in Goleta on Sunday to pull it off:
http://CA.barackobama.com/Vote2010Events

Thanks,
Jeremy Bird
Deputy Director
Organizing for America

P.S. -- Tomorrow evening, Thursday, October 7th at 6:00 p.m., Senator Barbara Boxer is holding a conference call with OFA California volunteers. This is an exciting opportunity to hear from the Senator and get fired up for the final weeks of this election -- register here to receive the number and passcode for the call: http://ca.barackobama.com/BoxerCall

Blu-ray of the Month - "Santana: Hymns for Peace"

Blu-ray of the Month
Santana: "Hymns For Peace" (Eagle Vision/ST2)

DVD of the Month - "Brecker Brothers: Live in Tokyo"

DVD of the Month
Brecker Brothers: "Live in Tokyo" (JazzDoor) 1995/2010

Filmed live @ U-Port Hall, Tokyo, Japan, on March 14, 1995
Featuring: Michael Brecker, Randy Brecker, Dean Brown, George Whitty, James Genus & Rodney Holmes
Includes electrifying performances of "Slang," "Spherical," "Harpoon," the fantastic "Song for Barry" (their tribute to the late & hugely underrated trombonist Barry Rogers) and, of course, the jazz-rock anthem "Some Shunk Funk."
Broadcasted by the Japanese TV, in the "Wowow" series, this video also includes short interviews with Michael & Randy, included between the five musical numbers.

CD Reissue of the Month - "Hubert Laws: Morning Star"

CD Reissue of the Month
Hubert Laws: "Morning Star" (CTI/Sony Masterworks) 1972/2010

Since 1985, when King Records began to release the first CTI CDs in Japan, and since 1987, when Sony Music (then CBS) started to do the same in the USA -- and I had been invited by both companies to contribute to such reissue series as a supervisor, reissue producer, tape researcher or liner notes writer -- I've always pointed out that Hubert Laws' fourth album for CTI, "Morning Star," should be a top choice for the then-new compact disc format.

Oddly, although most of my several other suggestions were accepted, the big bosses always ignored my requests for ressurrecting the Grammy-nominated "Morning Star," despite the fact that it had been one of Hubert Laws' most appreciated albums during the CTI period, which, not coincidentally, also represented Laws' creative heyday.

For me, the strangest fact is that "Morning Star" has never been reissued on CD not even in Japan. Throughout the years, I was even able to convince King Records, Japan's CTI distributor, to reissue albums even by artists they didn't "like", such as Urbie Green, Randy Weston, Yusef Lateef and Gabor Szabo. However, "Morning Star" never made the final lists. Something that also happened to Lateef's "In A Temple Garden," Stanley Turrentine's "The Sugar Man" and many of Joe Farrell's killer sets ("Penny Arcade," Upon This Rock" and "Canned Funk.")

They also refused to reissue George Benson's "Pacific Fire" on CD, alleging that they didn't have the rights for any of the CTI albums originally released after 1982. But, they allowed me to include tracks from "Pacific Fire" on such best-selling compilations as "CTI Acid Jazz Grooves" and "Best of Benson".
[Not to mention that, back in 1990, at the time of the "Rhythmstick" release (ie, the third CTI ressurrection under the aegis of Creed Taylor's himself), during a lunch we had in October 1990 at the Gotham Restaurant in New York (at 12th Street, between University Place and 5th Avenue, near the CTI office at University Place) I suggested Creed to start a reissue program with the "old" CTI masters he hadn't lost to Sony, still owning their rights. Albums like Jim Hall's "Studio Trieste," Urszula Dudziak's "High Horse," Claudio Roditi's "Red on Red" and Les McCann/Houston Person's "Road Warriors," among others. Creed's short answer: "I'm not interested in reissuing any old material"... Some time later, though, he did all that mess on Hall's "Youkali" spending a lot of money with studio fees and paying triple scale to musicians like Dave Weckl to overdub tracks from "Studio Trieste" and "Gershwin Carmichael Cats." But that's another story.]

Five of Hubert's eight albums recorded for CTI in the '70s were reissued on CD in the USA, under the supervision of producer Didier Deutsch, who had worked as publicity director for the label during the '70s: "Crying Song" (originally released as CTI 1002 in 1969, reissued with a different cover in 1970 as CTI 6000), "Afro-Classic" (CTI 6006), "The Rite of Spring" (CTI 6012), "In The Beginning" (CTXC 3+3, a massive 2-LP set also released as single albums under the titles "Then There Was Light Vol. 1" as CTI 6065, and "Then There Was Light Vol. 2" as CTI 6066), plus "The San Francisco Concert" (CTI 7071), on which Didier did a great job, adding many previously unreleased tracks and recreating the concert on its entirety. Didier also produced the compilation "The Best of Hubert Laws," released on the Epic label in 1990, on which he included two tracks from "Morning Star": the title song and "Amazing Grace."

In Japan, except for "Morning Star" (CTI 6022), all other Hubert Laws' albums for CTI eventually became available on CD: "Carnegie Hall" (CTI 6025), "The Chicago Theme" (CTI 6058) and Laws' 1982 collaboration with Jim Hall & Chet Baker, "Studio Trieste" (CTI 9007).

Besides his solo efforts, Laws' presence as sideman in more than 50 CTI/Kudu albums and as one of the key members of the several CTI All-Stars groups formed between 1971 and 1975, turned the best jazz flutist ever into one of the quintessential CTI artists alongside Ron Carter and George Benson. Curiously, after their last studio session in 1982, Laws and Creed Taylor resumed their collaboration 27 years later, when the producer assembled a new CTI All-Star Band that toured Europe in the Summer of 2009. Although the too much announced DVD filmed at the Montreux Jazz Festival has not yet been released (i'ts scheduled for release in Japan next Novmber 3rd), two other concerts -- filmed at the San Javier Festival (Spain) in July 2009 and at the Burghausen Fest (Germany) in March 2010 -- are already available on the web as bootleg DVDs.

All this talk happens to announce that, on October 05, under the new catalog number Masterworks 8869776833, "Morning Star" will be seeing the light of the day on CD for the first time ever. Anywhere in the world! For this reason, despite the high level of all other albums selected for this new CTI reissue program created by Sony, "Morning Star" stands out as the indispensable star of this series.

Recorded from September to November, 1972, at Van Gelder Studios, "Morning Star" (graced by an unmistakable Pete Turner photo) reached the Billboard charts as #2 among the "Jazz Albums" and #148 in the Pop list of the "Billboard Top 200." The third Hubert Laws CTI LP arranged by the great Don Sebesky, finds the maestro employing a larger instrumentation than the chamber-jazz combos heard on their previous collaborations "Afro-Classic" and "The Rite of Spring."

After the basic tracks were cut with Bob James (Fender Rhodes), Ron Carter (acoustic bass) and Billy Cobham (drums), Creed Taylor invited Ralph MacDonald and John Tropea to add unobstrusive percussion and guitar touches. Even so, most of Tropea's work on the album was later deleted by Creed during the mix sessions at Van Gelder Studio, like he also did with Jay Berliner's work on Milt Jackson's "Sunflower" album...

[Btw, in the mid-80s, when CBS reissued "Sunflower" on CD for the first time, the reissue producer Didier Deutsch provided a full new mix, extending some tracks and restoring Berliner's playing in the opening track, "For Someone I Love," allowing us to savor that beautiful acoustic guitar sound throughout the entire track, since Creed had originally used it (on the LP version) only during the intro of the song. So, it would be funny to listen, someday, to Tropea's playing on "Morning Star" if a remixed version comes out in the future.]

Then, Sebesky overdubbed vibes (Dave Friedman playing only the written parts), strings and brass, assembling veteran studio masters as multi-reedmen Romeo Penque & Phil Bodner, trumpeters Marvin Stamm & Alan Rubin, trombonist Garnett Brown, harpist Gloria Agostini, and strings concertmaster Harry Lookofsky, my favorite violin player ever. At Laws' request, background vocals (by his sisters Eloise Laws & Debra Laws, plus Tasha Thomas & Lani Groves) were also added on two tracks, anticipating the pop vocal direction he would follow on later albums for Columbia such as "Say It With Silence" and "Land of Passion."

My personal favorite moment on the entire album is the superb title track, composed by the underrated pianist Rodgers Grant, who had previously recorded for CTI, alongside Laws, on Benson's 1969 "Tell It Like It Is," returning to Van Gelder Studio in 1974 for Laws' "In The Beginning" sessions, which included another Grant masterpiece, "Reconciliation."

There's also a sumptuous arrangement of "Where Is The Love?" with Laws using (by overdub) two flutes to play the intro/refrain. Curiously, the song composer, Ralph MacDonald (who co-wrote this theme with bassist William "Bill" Salter for Roberta Flack), doesn't performs on this track. Actually, he is heard only on "No More," playing congas as well as a variety of hand-percussion instruments.

Sebesky's scores are the hip of the hip, reaching an unbelievable combination of sophistication and naturality. The passage he wrote for Ron Carter's bass during a specific section of "Amazing Grace" (played by Laws without the rhythm section, backed only by Gloria Agostini's harp, strings, and during a few precious moments by Ron's bass) is another highlight.

This CD reissue, produced by Richard Seidel and remastered by Mark Wilder from the original 2-track analog mix tapes, comes in a beautiful mini-LP gatefold sleeve, faithfully reproducing the original cover concept created by my friends Bob Ciano (album design) and Pete Turner (cover pic) with an extra help of the liner photo by the late Japanese master K. Abe.

There's a sad note, though. The Sony team forgot to give credit to the composers & publishing companies. If the customer doesn't owns a copy of the original vinyl LP - on which the composers were credited on the label -, he will never know who wrote what. Some older buyers may recall that Ralph MacDonald wrote "Where Is The Love?", but how many will ever know that a genius named Rodgers Grant composed "Morning Star"??? A big copyright problem. But, unfortunately, an already usual thing for an younger generation of music fans, the Ipod guys that download anything without caring about anything.

To celebrate such event, I've asked my dear friend Douglas Payne, CTI's top connoisseur in the world, to provide some insightful comments about “Morning Star.” His brilliant text follows:

Morning Star is a lovely and too-little known orchestral jazz classic that got lost in the shuffle of flautist Hubert Laws’s prodigious CTI output. Recorded between September and November 1972 and issued early in 1973 between Laws’s well-known The Rite of Spring (CTI, 1971) and the lesser-known performance feature Carnegie Hall (CTI, 1973), Morning Song is among the flautist’s most assured albums.

There is a perfectly sublime amalgamation of sound present here, as Laws is beautifully partnered on various flutes with Bob James on electric piano, Ron Carter on acoustic bass and Billy Cobham on drums. Laws and company are then set against some of Don Sebesky’s loveliest orchestral flourishes, as ever as complimentary and as much a part of the conception of the performance as any of the soloists.

Unlike almost every Hubert Laws record that came before it, Morning Star, which was nominated for a Grammy Award in 1973 (as was Freddie Hubbard’s Don Sebesky-arranged “In A Mist”), also ranks among the leader’s most consistent and consistently engaging programs. As before, Laws explores a mix of jazz, the classics, pop, funk and spirituals. But here the fusion works so considerably that each track doesn’t feel like a jump in genre.

Laws traverses jazz and the classics with the title track, written by the flautist’s piano partner in the Mongo Santamaria band, Rodgers Grant, and his own “What Do You Think of This World Now,” featuring sister Debra on vocals. The latter features such a prominent and unusual orchestration from Don Sebesky (similar to what he did in his “Bird And Bela in B Flat” several years later) that a co-composer credit would seem much in order here.

We’re on more familiar ground with the very solemn and meaningful reading of the traditional “Amazing Grace,” which was significant enough to factor on two CTI LP compilations back in the day, Fire Into Music and The Power, The Glory and The Music, and Ralph MacDonald and William Salter’s “Where Is The Love,” the huge 1972 hit from the Roberta Flack & Donny Hathaway album, which features many players, including Laws, present on this album and also includes the “Come Ye Disconsolate” that Laws would cover on his 1975 album In The Beginning.

Laws also revisits two of his earlier compositions, “Let Her Go,” originally heard on his second album, Flute By-Laws (Atlantic, 1966) and the chilled-out funk of “No More,” originally voiced by Melba Moore on the 1968 Atlantic album Laws Cause, which also featured Ron Carter’s distinctive bass.

This leads to the remarkably exquisite sound that engineer Rudy Van Gelder captured on Morning Song. By the time of this recording, Van Gelder had mastered an utterly unique sound for CTI that was very different to the truly unique Blue Note, Prestige and Verve sounds the legendary engineer had crafted in years past. The sonority and balance are so gorgeously perfect here that it’s hard to imagine what a lesser engineer might have done with this quartet, two percussionists, seven horn players, 13 string players and (on two cuts) three vocalists. It might even be fair to say that Morning Star is the best sounding album CTI ever made.

Needless to say, Hubert Laws is inspired to play at the very peak of his abilities throughout Morning Song and there’s little doubt that any track off this record could be recognized very much as his own in any blindfold test. In addition to some of Bob James’s loosest and loveliest accompaniment and soloing throughout, the lyrical and like-minded Ron Carter is an asset to Laws’s singular performance, guiding with a subtlety that almost feels as if it is the bassist leading the charge.

"Morning Star" can be ordered from DustyGroove through this link below:
http://www.dustygroove.com/item.php?id=p3bwtzr9vb&ref=browse.php&refQ=kwfilter%3DHubert%2BLaws%26amp%3Bincl_oos%3D1%26amp%3Bincl_cs%3D1%26amp%3Bx%3D15%26amp%3By%3D10

And that's what they say about the CD:
One of the most sublime Hubert Laws albums for CTI – a set that features his incredibly soulful flute work floating over these beautiful large arrangements by Don Sebesky – all ticked by some sweet electric piano from Bob James! The sound is perfect – that balance of soul and sophistication that really made CTI a groundbreaking label at this point – and which made it a perfect place for a hip artist like Hubert to really hit his stride! And in fact, Laws may not have ever hit this height again – as even though later albums are all still pretty great, and plenty soulful, this set's got an extra something special that we never tire of hearing! Titles include "No More", "Morning Star", "Let Her Go", and "What Do You Think Of This World Now?" (Limited time – comes with a full bonus CTI sampler CD too!)

Box Set of the Month - "CTI Records: The Cool Revolution"

Box Set of the Month
"CTI Records: The Cool Revolution" (CTI/Sony Masterworks) 2010

The 4-CD box set "CTI Records: The Cool Revolution - A 40th Anniversary Collection," digitally remastered using the original two-track LP masters, includes 39 tracks on 4 themed CDs ("Staright Up," "Deep Grooves/Big Hits," "The Brazilian Connection," "Cool and Classic") and an illustrated 20-page LP-sized booklet with rare photos and liner notes. Featuring the label’s legendary roster of jazz stars, the four discs offer an overview of the golden decade (1970-80) in which CTI’s signature sound and style were born, with each disc highlighting an aspect of CTI’s personality.

It's very difficult to write a "review" about this box compiled by Richard Seidel (with Alex Miller & Cathleen Murphy as executive producers, and Laura Kszan as project director), 'cause people have been commenting about these tracks thousands of times. And, certainly, CTI devotees like Doug Payne, will post insightful & detailed reviews. So, I'll just make some personal comments.

CD1, "Straight Up," focuses on straight-ahead cuts. Things like the famous bluesy opener, Stanley Turrentine's "Sugar" (one of CTI's signature tracks or anthems or whatever you wanna call it, now revived by the CTI All-Star Band in the upcoming CD/DVD "Live at Montreux 2009"), Chet Baker's rendition of "Autumn Leaves" (in counterpoint with Paul Desmond's dry-martini alto sax) in a rare CTI mainstream-jazz moment, and the hard-bop of Freddie Hubbard's "The Intrepid Fox" and John Coltrane's "Moment's Notice" as performed by brothers Hubert & Ronnie Laws. Don't ask me why there are two takes of Miles Davis' "So What" played by Ron Carter (from his "Spanish Blue" album) and George Benson (from "Beyond The Blue Horizon," of course with Ron on bass). Btw, Ron is heard in all 9 tracks of this CD1, another proof that he was the most important sideman during CTI's heyday from 1970 to 1975.

Billy Cobham (then a key member of John McLaughlin's Mahavishnu Orchestra) shines specially on the Stanley Turrentine/Milt Jackson funkyfied reading of Lee Morgan's bop gem "Speedball" as well as on Randy Weston's bop-waltz "Ifrane," the superb & long-forgotten big-band opening track (featuring an amazing "duel" between Freddie Hubbard and Grover Washington, Jr. in a brilliant Don Sebesky arrangement) from one of CTI's best & most-underrated superb albums, "Blue Moses," for now reissued on CD only in Japan. Randy's sole session for CTI had been ignored in all compilations previously released for the USA market by CBS/Sony/Epic. And both Freddie & Grover are also featured on "Free As A Bird," from Sebesky's masterpiece "Giant Box," with the low-profile maestro playing both accordion & Fender Rhodes, although Bob James does the acoustic piano solo.

Titled "Deep Grooves/Big Hits," CD2 starts appropriately with Hubbard's "Red Clay" (the first CTI crossover-jazz hit), continues with some tracks originally from CTI's main subsidiary Kudu label -- Johnny Hammond's "It's Too Late," Esther Phillips' "Home Is Where The Hatred Is," -- and goes ahead with the amazing charts that Sebesky provided for the jazzy renditions of pop/rock tunes originally supplied by Jefferson Airplane (the title track from Benson's "White Rabbit") and James Taylor ("Fire and Rain," as covered by Hubert Laws).

Then, suddenly comes Esther Phillips' disco-grooved "What a Difference A Day Makes" (CTI's biggest hit ever on the dance-music territory, thanks to Joe Beck's arrangement), Deodato's "Zarathustra/2001" (CTI's mega pop hit in '73) and, sandwiched between them, the Joe Farrell/John McLaughlin exquisite collaboration on "Follow Your Heart," a great track that doesn't has a "deep groove" and neither was a "big hit." The same "problem" with Hank Crawford's "We Got A Good Thing Going," the title track from an album that had been terribly remixed by Larry Keyes for a CD release in 1987. Grover's funky-hit "Mister Magic" (a track now owned by Universal since Motown, now part of UMG, got the control of Grover's albums for Kudu after a law suit against CTI in '76), ends the disc.

Some people really don't know that track sequencing is an art. Period.

Anyway, now we are listening to CD3, "The Brazilian Connection." Oops, they probably meant "The Brazilian Tinge," I guess. Because, alongside Brazilian songs performed by Jobim ("Stone Flower" and an alternate take of "Brazil" that doesn't sounds better than the official take), Astrud Gilberto (Edu Lobo's "Ponteio," with Toots Thielemans guesting on harmonica and Sivuca on acoustic guitar, both propelled by drummer Joao Palma's dexterity, with another Brazilian giant, Dom Um Romão on percussion), Stanley Turrentine (Milton Nascimento's "Salt Song" arranged by Deodato with Airto on drums & congas), Paul Desmond (Jobim's "Wave," a track added to the CD reissue of "Pure Desmond" but not included in the original LP), Deodato's own "Carly & Carole" (his homage to Carly Simon & Carole King) and Airto's acid-jazz classic "Tombo in 7/4," well, besides all these Brazilian songs, appear some cuts that have just some light Brazilian or Latin influences.

Such is the case of Hubbard's tunes "First Light" and "Sunflower" (the latter recorded on a session led by Milt Jackson), as well as Airto's performance of Chick Corea's fusion groundbreaking hymn "Return To Forever," with the original group members - Chick, Stanley Clarke, Flora Purim, Joe Farrell and Airto - augmented by a brass section (3 trumpets & 3 trombones) arranged by Sebesky. Clare Fischer's "Pensativa" was originally conceived as a bossa nova, but there's no bossa beat or hint (or heat) either on John Murtaugh's score for flute & strings (no rhythmic section) used by Hubert Laws on "Wild Flower" and later reprised on "The San Francisco Concert," added as a bonus track on its CD reissue produced by Didier Deutsch. It would have been much better if two pieces by Villa-Lobos -- Brazil's most important classical composer ever -- could have been chosen: "Aria from Bachianas Brasileiras #5" (recorded on Jackie & Roy's "Time & Love") and "Little Train" (sung by Airto on Benson's "White Rabbit").

CD4 puts together a selection titled "Cool and Classic." Certainly, the opening track, "My Funny Valentine," performed by Chet Baker & Gerry Mulligan on their 1974 "Carnegie Hall Concert," contains the essence of cool-jazz. Another Chet vocal take, "What'll I Do," in a lush string arrangement by Sebesky, fits well too. Kenny Burrell's "A Child Is Born," featuring Richard Wyands on piano and George Ricci on cello? OK. Ron Carter's "All Blues," despite a sound problem in the left channel, before Joe Henderson's appearance, sounds cool and classy.

Don Sebesky's haunting score to Joni Mitchell's ballad "Song To A Seagull" is hip, very very hip. The essence of natural elegance and sophistication also showed on his adaptations of Faure's "Pavane" (Hubert Laws) and Rodrigo's "Adagio from Concierto de Aranjuez" (Jim Hall's landmark 19-minute performance with Chet Baker, Paul Desmond and Roland Hanna providing great solos). Classic pieces in all senses indeed. But Bob James' radio hit "Westchester Lady" (a track licensed by James himself, who controls all his solo albums for CTI after winning a law suit against the label in '77) and Benson's "Take Five" (with a splendid Kenny Barron solo on Fender Rhodes) would fit better on that "Deep Grooves/Big Hits" disc. Do I need to explain why?

Last but not least: in spite of the great musical content and the fantastic work of Roxanne Slimak in preparing the elegant art direction & graphic design for the LP-sized booklet, there are countless mistakes and omissions in the credits of the musicians listed in each track. Among them:
- my favorite "acoustic jazz guitarist" ever, Gene Bertoncini, is omitted on Hubert Laws' "Fire and Rain," a track on which he plays a pivotal role in Don Sebesky's score;
- keyboardist David Horowitz is credited as playing "synthesizer" on Randy Weston's "Ifrane," but there's no synth (and no other keyboard besides Weston's own Fender Rhodes) on that superb track; Horowitz played Moog synthesizer in only one track from Weston's "Blue Moses" LP, but that wasn't "Ifrane";
- three backing vocalists are listed on Stanley Turrentine's "Salt Song," although there were no vocals at all on that track (they sang only on another song, "I Told Jesus," from that album)...my dear late friend Richard Tee is also credited as playing "organ" on the same "Salt Song," but he didn't took part of the track and there was no organ on Deodato's arrangement;
- Jay Berliner is listed as guitarist on Milt Jackson's "Sunflower," but there's no guitar on that track, only on "For Someone I Love," which wasn't compiled here;
- and, still speaking of guitarists, Earl Klugh is credited on the title track from George Benson's "White Rabbit" album, but he only recorded in another tune, "El Mar";
Well, the list of mistakes goes on and on, and even photographers like Duane Michals (responsible for that famous Deodato shot used on page 10 of the booklet, the same one originally included in the liner cover of "Prelude") and Alen MacWeeney are not mentioned. Sad.
The box set is already available at DustyGroove through the link below:
http://www.dustygroove.com/item.php?id=dcr6tzgcfx

That's what they say:
A well-titled little set – as the collection is as cool as the sound of CTI Records back in the 70s! The unique package features an LP-sized cover – just like one of the CTI gatefold albums from back in the day – which contains 4 different CDs, each with a slightly different take on the sound of the legendary label! CD 1 is titled Straight Up – and features amazing 70s jazz from Hubert Laws, Ron Carter, George Benson, Randy Weston, Freddie Hubbard, and others. CD 2 is titled Deep Grooves/Big Hits – and features some killer numbers by Esther Phillips, Johnny Hammond, Freddie Hubbard, Deodato, Joe Farrell, and Hank Crawford. Next is CD 3, The Brazilian Connection – a beautiful demonstration of Creed Taylor's love of sounds from Rio and beyond – filled with great work from Airto, Paul Desmond, Antonio Carlos Jobim, Stanley Turrentine, Milt Jackson, and Deodato. Last up is Cool & Classic – the 4th CD, with CTI-remade work by older players such as Gerry Mulligan, Chet Baker, Kenny Burrell, and Jim Hall – all a perfect fit for the label's new sound of the 70s! The package also features an LP-sized booklet – filled with notes and rare images! © 2010, Dusty Groove America, Inc.

CD Compilation of the Month - "Selections from CTI Records: The Cool Revolution"

CD Compilation of the Month
"Selections from CTI Records: The Cool Revolution" (CTI/Sony Masterworks) 2010

Original sessions produced by Creed Taylor & engineered by Rudy Van Gelder
Tracklist:
1. Stanley Turrentine: "Sugar"
2. Chet Baker: "Autumn Leaves"
3. Randy Weston: "Ifrane"
4. Freddie Hubbard: "Red Clay"
5. George Benson: "White Rabbit"
6. Hubert Laws: "Fire and Rain"
7. Antonio Carlos Jobim: "Stone Flower"
8. Astrud Gilberto & Stanley Turrentine: "Ponteio"
9. Eumir Deodato: "Carly & Carole"
10. Don Sebesky: "Song To A Seagull"
11. Hubert Laws: "Pavane"
12. Chet Baker: "What'll I Do"

Vocal CD of the Month - "Sony Holland: Sanssouci"

Vocal CD of the Month
Sony Holland: "Sanssouci" (Van Ness) 2010

Featuring: Sony Holland (vocals), Jerry Holland (guitars), Robbie Kondor (keyboards), David Hughes (bass), Kendall Kay (percussion) & Wolf Sebastian (cello)
Recording Engineer: Mark Vincent
Additional Engineering by Gary Griffin & Nolan Shaheed
Mixing Engineer: Brendan Harkin
Mastering Engineer: Erik Wolf
Graphic Design: Chris & Terry Dudley
Photo: Anthony Popolo

This enchanting CD, by LA-based singer Sony Holland, offers delightful moments that combine elegance, delicacy, sensitivity & musical joy, in reverence to music's subtler values. The lovely intertwining of lines, tempos and motifs abounds throughout the beautifully & inventively arranged 13 track-program, a perfect blend of standards (from the opener "My Foolish Heart" to the finale with the best vocal version of "My Romance" since Carly Simon's recording with Eddie Gomez & Steve Gadd 20 years ago) and originals by Sony's hitmaker (and multi-talented) husband Jerry Holland -- my personal favorite being "Little Tune," that sounds sooooo pretty!

Also noteworthy are Sony's renditions of Rufus Wainweight's title track "Sanssouci" and Carla Bruni's "Those Dancing Days Are Gone," composed (for her second album, "No Promises", from 2008) after a 1929 poem by William Butler Yeats. Not to mention Joseph Kosma's 1945 standard "Les Feuilles Mortes," sung firstly in French (with the original Jacques Prévert lyrics) and soon after with the English lyrics added by Johnny Mercer in 1947. The mixing of Sony Holland's soulful vocals with the sparse/ingenious instrumentation is pure pleasure.

(Sony @ Gary Griffin studio)

Sony Holland talks about the recording of "Sanssouci"
********
"I had been overdue for a new release and wanted to do something different from the traditional jazz trio, piano based recordings I've made in the past. Since I have been gigging frequently as a duo with Jerry, my guitarist/composer/husband (not necessarily in that order), we decided to do a CD that would convey the essence of what those performances have been. The two of us brainstormed on which songs to include. We even did a little "test" recording in our bathroom, the quietest room in our apartment. We picked 13 of my favorite songs that have enough variety but still fit on the same disc. I could easily fill another disc, so leaving some songs out is the toughest part...

We were ready to book Nolan Shaheed's home studio. In addition to being an excellent engineer Nolan has played trumpet with the likes of Stevie Wonder and The Count Basie Big Band. He also happens to be one of the best long distance runners in the world in his age group. Jerry started by recording his guitar tracks using a metronome to help him keep a perfect groove. Since we had also been playing some private parties in Los Angeles with our friend, cellist Sebastian Wolf, it was a natural idea to add his magical touch to a few tracks. Sebastian raced into the studio to play two songs, just before leaving on a month long trip to Europe. His playing is wonderful and adds greatly to the CD.
(Nolan Shaheed, Sebastian Wolf & Sony)

Next we called our friend Gary Griffin who has a home studio set up in a shed behind his house. I am very comfortable singing there even though there is no booth between the vocalist and engineer. Gary is a skilled engineer and also a keyboardist. He's worked with the Beach Boys and other legendary bands. His "shed" has pictures of him with Chuck Berry, James Brown, Brian Wilson and many other stars. We had to pause occasionally for low flying planes, noisy garbage trucks and the neighbors talkative chocolate labs, but I was able to get the vocals done in a couple of short sessions.

We took the tracks home to listen to what we had wrought. On several songs we had inadvertently left the metronome on. The funny thing is that the beat added so much to the feel that we thought, why not actually add a little conga? It wouldn't be too costly and the sound would still be warm and intimate. So we called Kendall Kay. Kendall had played live with me at Catalina's and Spazio, and I knew he was a sensitive musician who would work comfortably in the guitar/vocal setting. At this point we moved to Mark Vincent's studio in Toluca Lake. Kendall brought in a car full of assorted instruments... djembe, conga, shaker, udu, tambourine, snare, rain-stick, etc... He added his rhythms to all 13 songs within a few hours and it all sounded so good!
(Kendall Kay)

About that time Jerry found out that Robbie Kondor was in town playing with the James Taylor / Carol King tour. They were in the midst of a three night run at the Hollywood Bowl. Though Jerry and Robbie hadn't seen each other in 20 years they were old friends from their time in a band together in NYC. So he asked Robbie to add piano to a few tracks before the tour packed up and headed out again. To our surprise Robbie agreed. He dashed in (straight from the Hollywood Bowl) and played on eight of the CDs thirteen tracks.
(Robbie Kondor)

By this point we had developed a really good relationship with engineer Mark Vincent. Mark's dad is Don Vincent, who has been the musical director and band leader for Wayne Newton since the Reagan administration. Mark has grown up around music and is a terrific engineer and a really nice guy too. We all agreed that now the tracks had a great beat and some colorful piano, and what they really needed was a bass to pull it all together. So Mark turned us on to David Hughes. David tours with David Benoit and he has also released several CDs of his own music. He is originally from Sweden but has become a sought after studio musician in Los Angeles. David brought 3 basses; an upright, a Fender Precision and a five string fretless. We really enjoyed the day he came in and played on 12 of the 13 tracks. He would listen down to a track once, pick his bass of choice, and record a terrific part in one or two passes.
(Sony & David Hughes)

The whole project had undergone quite a transformation and Jerry knew his original guitar tracks would have to be replaced. So he re-recorded them, this time playing along with the percussion, bass, piano and vocals instead of just the monotonous metronome. And that's how the project evolved from a sparse guitar/vocal recording to a full combo of percussion, piano, bass, guitar and cello. The remarkable thing is that it sounds like a terrific band performing together live. And you can tell that everyone is having a great time!
(Jerry Holland)
About the songs:

I’m pleased to present my new CD, SANSSOUCI. It is a very personal project for me with softer and darker overtones, especially on songs like "Les Feuilles Mortes" (with the haunting cello) and "When I Find You." Though it was put together on an artists budget I’m proud of the result and I trust it will bring you lots of listening pleasure. I hope you will find the songs interesting in their variety yet cohesive as a group.

The title track is a wonderful song written by Rufus Wainwright. SANSSOUCI refers to a summer palace built by King Frederick of Prussia in 1745. Both the song and the palace bring to mind a certain glorious despair, a sense of grandness and loss at the same time...I certainly have an understanding of those dual emotions.

Here is a quick rundown of the songs. Since I opted for very minimal packaging there wasn't room to print most of this info on the jacket.

My Foolish Heart (V. Young, N. Washington)
This track is my tribute to Astrud Gilberto, whose voice popularized the bossa nova worldwide through songs such as "Girl From Ipanema," "Corcovado" and many others.

Curiosity (J. Holland)
This lovely melody is one of the first songs that Jerry wrote for me and is also influenced by Astrud's music. I confess that he stole the line, "Don't you want to kiss me," straight from my lips. I just blurted it out one evening when he was trying to play it cool.

Those Dancing Days Are Gone (C. Bruni, W.B. Yeats)
"I carry the sun in a golden cup, the moon in a silver bag." That line from W.B. Yeats poem grabbed me right away, and the catchy music by Carla Bruni is really sweet. We gave it a reggae feel.

Sanssouci (R. Wainwright)
The title track was written by the one and only Rufus Wainwright. Sanssouci was the summer palace of Frederick the Great, located in Potsdam. Jerry's hypnotic guitar and Wolf Sebastian's cello combine for some charming interplay.

What A Difference A Day Made (S. Adams, M. Grever)
No one tops Dinah Washington's original version. The foot pedal for the keyboard was broken the day Robbie Kondor came in to record, but he laid down a fluffy pillow of an organ track anyway!

Little Tune (J. Holland, A.R. Scott)
I love this little tune! Jerry co-wrote it with his friend Alan Roy Scott. They were co-writers years ago when they were young rockers in NYC. Alan moved to L.A. in the 90's and got a gig writing for TAMLA, the publishing division of MOTOWN. When we first moved to SoCal the two of them got together (for the first time in 20 years) and wrote this song in one short session. I hope they don't wait another 20 to write another.

When I Find You (J. Holland)
This is one of my favorite songs of Jerry's. In addition to Kendal's djembe I love the bells he added. He also played udu and tambourine on this one.

Les Feuilles Mortes (J. Prevert, J. Kosma, J. Mercer)
This lovely arrangement features a touch of flamenco guitar, castanets and a beautiful cello solo by my dear friend, Wolf Sebastian.

My Foolish Heart (V. Young, N. Washington)
This track is my tribute to Astrud Gilberto, whose voice popularized the bossa nova worldwide through songs such as "Girl From Ipanema," "Corcovado" and many others.

You Don't Know What Love Is (G. de Paul, D. Raye)
You don't know the true value of something until you've lost it...Amen! There have been many versions of this, including the classic by Billie Holiday.

You're Always With Somebody New (J. Holland)
This coy tune was inspired by a friend of ours who always shows up with a new girl in his arms...a 'bad boy' indeed!

Too Many Beautiful Girls (J. Holland)
Everyone asks what a "Kangol crown" refers to in this lyric so here's the explanation: 'Kangol' is the brand of beret I often wear, like the one in the picture below. I have a white beret too!

The First Time Ever I Saw Your Face (E. MacColl)
This has been a fan favorite at my concerts for several years. According to Wiki, the songwriter, Ewan MacColl, was an absolute folk purist. For example, he did not approve of English people singing Scottish folk songs or vice versa and reputedly hated almost all the recordings of this song, including Flack's. Hmmm...

My Romance (R. Rodgers, L. Hart)
We chose to wrap things up the same way we started, with a simple version of a beautiful song. Sweet dreams!

Instrumental CD of the Month - "John Scofield & Vince Mendoza: 54"

Instrumental CD of the Month
John Scofield, Vince Mendoza & Metropole Orkest: "54" (ScoBiz/Universal)

Seven of Scofield's challenging compositions -- plus two Vince Mendonza's originals -- adapted and re-arranged for an orchestral context. Mendoza, artistic director of the Metropole Orchestra, scored most of the tracks (including the massive opener, "Carlos," John's tribute to Santana), except "Imaginary Time" (orchestrated by Florian Ross) and "Out of the City" (by Jim McNeely).
Among the main soloists are Paul van der Feen (alto sax), Ruud Breuls (trumpet), Bart van Lier (trombone), Marc Scholten (alto sax), Leo Janssen (tenor sax), Hans Vroomans (piano & Hammond organ) and Martijn Vink (drums). Also noteworhy is the work of bassist Aram Kersbergen.

CD-Single of the Month - "Eumir Deodato & Al Jarreau: Double Face"

CD-Single of the Month
Eumir Deodato feat. Al Jarreau: "Double Face" (Expansion) 2010

Tracklist:
1. Double Face (Radio Mix)
2. Double Face (Album Mix)
3. I Want You More (Album Mix)

"The Crossing," Eumir Deodato's new solo project is scheduled for CD release in Europe on November 26, distributed by Expansion (UK) and Soul Trade. This new project was produced by the Italian group Novecento, and recorded, mixed & mastered at their Nicolosi Studio in Milan.

One of the special guests is the brilliant singer Al Jarreau, featured on the first video & the first single, "Double Face," an up-tempo urban/dance song for which the virtuoso vocalist wrote the lyrics. Jarreau also appears on the lush "I Want You More," on which the talented Dora Nicolosi (member of Novecento) takes the lead vocals, while Deodato performs a fantastic Rhodes solo. Btw, it's great to have the Brazilian genius back on a real Fender Rhodes, 'cause no one ever played Rhodes like him. And nobody will.

"Cadence" - October/November/December 2010

"DownBeat" - October 2010

COVER
Ray Charles -- DownBeat honors the life and jazz legacy of Ray Charles, whose 80th anniversary this year has served as an occasion for reissues of his classic recordings, an upcoming television biopic and even a Broadway musical. DB takes a fresh look at Brother Ray's big band work and the jazz musicians who helped him put the soul into swing.

FEATURES
John Clayton -- A family man who frequently performs with his sax-playing brother Jeff and piano-playing son Gerald, Clayton holds an undisputed position in the upper echelons of bass expression as an ensemble player and soloist. His experience as a composer, arranger and bandleader-not to mention his dedication to education-have earned him deep respect in jazz and classical music circles. (Suprisingly, not a single word about Diana Krall, his main employer in the past 10 years, with whom he toured the world many times, recorded several CDs and appeared on 2 DVDs...I know that Clayton already left her group, but the fact that her name is not even mentioned in this story sounds very strange to me...)

Tim Berne -- Alto and baritone saxophonist Tim Berne is a driven New York bandleader and improviser who thrives on change. He perpetually seeks out fellow players who can bring a fresh chemistry to his ever-evolving ensembles.

Josh Berman -- For more than 10 years, cornetist Berman has been an essential contributor to Chicago's active improvised music scene. His work involves not only performing in a variety of highly collaborative formats, but also developing opportunities and forums for presenting improvised music.

Billy Childs -- A feeling of Impressionism pervades the pianist's latest recording project, a collection of classically infused compositions rich in atmospheric timbres and sensations.

JAZZ EDUCATION GUIDE: Where To Study Jazz 2011 --
A comprehensive resource of school listings designed to help students preparing to enter college and graduate school take the proper steps in pursuing their formal jazz studies. Includes:
· Rufus Reid Blindfold test at the JEN Conference
· Future of Jazz discussion with Stefon Harris, Gerald Clayton, Don Braden, DJ Trentino
· Glimpse at Oberlin's new jazz facility an honor the late chazz chair, Wendell Logan.
· Peek into the influental jazz education organizations of Thelonious Monk Institute of Jazz and the Brubeck Institute.
· Tips on finding the right college jazz program and advice for choosing (or changing) majors.

PLAYERS
Michael 'Spike' Wilner (piano)
Matt Bauder (saxophone)
Pete Robbins (saxophone)
Gregory Porter (voice)

BLINDFOLD TEST -- Anat Cohen

THE BEAT
· Ramsey Lewis celebrates his 75th birthday
· Tenor saxophonist Fred Anderson remembered.
· Icons Among Us DVD documents current jazz scene
· European Scene
· Caught: Parma Jazz Festival in Italy; Montreal Jazz Festival; North Sea Jazz Festival

WOODSHED
· Master Class: Trumpeter Carl Fischer on how to not get stereotyped
· Transcription: Jon Irabagon's alto saxophone solo on "January Dream" from the Observer

REVIEWS - Hot Box
· Bruce Barth & Steve Wilson, Home (We Always Swing)
· Wynton Marsalis & Richard Galliano, From Billie Holiday To Edith Piaf: Live In Marciac (Wynton Marsalis Enterprises/The Orchard)
· Bill Frisell, Beautiful Dreams (Savoy Jazz)
· Herbie Hancock, The Imagine Project (Hancock Records) this album received four different ratings -- **, ***, ***1/2, **** -- from the DB critics.

CD Reviews
· Sinatra-Jobim, The Complete Reprise Recordings (Concord)
· Stefano Battaglia & Michele Rabbia, Pastorale (ECM)
· James Moody, 4B (IPO)
· Eden Brent, Ain't Got No Troubles (Yellow Dog)
· Marco Benevento, Between The Needles & Nightfall (Royal Potato Family)
· Geri Allen, Flying Toward The Sound and Geri Allen & Timeline-Live (Motema)
· Gabor Szabo, Jazz Raga (Impulse!/Light In The Attic Records)
· Steve Smith/George Brooks/Prasanna, Raga Bop Trio (Abstract Logix)
· Liam Sillery, Phenomenology (OA2)
· Stanley Clarke, The Stanley Clarke Band (HeadsUp)
· Hilary Kole, You Are There (Justin Time)
· Bobby Previte, Pan Atlantic (Auand)
· Pinetop Perkins/Willie "Big Eyes" Smith, Joined At The Hip (Telarc)
· Ernie Watts, Four Plus Four (Flying Dolphin)
· Larry Coryell, The Virtuoso Guitar Of Larry Coryell (HighNote)
· George Duke, Deja Vu (Heads Up)
· Stacey Kent, Raconte-Moi (EMI-Blue Note)
· Charnett Moffett, Treasure (Motema)
· Axis Trio, Anthem (Accretions)
· Rich Corpolongo Trio, Get Happy (Delmark)
· Pat Mallinger, Dragon Fish (Chicago Sessions)
· Stan Kenton Alumni Band, Have Band Will Travel (Summit)
· Stan Kenton, This Is An Orchestra (Tantara)
· Margret, Com Você (Sunnyside)
· Frederico Britos, Voyage (Sunnyside)
· Guillermo Klein, Domador de Huellas (Sunnyside)
· Aaron Germain, Before You Go (self)

Jazz
· John Zorn/George Lewis/Bill Frisell, More News For Lulu (Hatology)
· Marc Copland Trio, Haunted Heart (Hatology)
· Dave Douglas Tiny Bell, Constellations (Hatology)
· Anthony Braxton, Koln 1978 (Hatology)
· Manuel Mengis, Dulcet Crush (Hatology)
· Loren Connors/Jim O'Rourke, Are You Going To Stop...In Berlin? (Hatology)

Blues
· Dave Weld & Imperial Flames, Burnin' Love (Delmark)
· Mia Vermillion, Alone Together with the Blues (VMS)
· Hot Tuna, Live at New Orleans House (Collector's Choice)
· Various Artists, I'm Going Where the Water Drinks Like Wine: Rarities 1923-29 (Sub Rosa)
· Various Artists, This is the Blues (Eagle)
· John Jackson, Rappahannock Blues (Smithsonian)
· Tim Woods, The Blues Sessions (Earwig)

Beyond
· Tom Jobim, Brazil's Ambassador Of Song [3-DVD set] (Jobim Music/DGR)

Historical
· Dave Brubeck Quartet, Jazz at Oberlin (Concord)
· Art Pepper Meets the Rhythm Section (Concord)
· Sonny Rollins, Way Out West (Concord)
· Thelonious Monk with John Coltrane (Concord)
· Joe Pass, Virtuoso (Concord)

Book Review
· Jimmy Heath, I Walked With The Giants (Temple University Press)