Friday, June 24, 2016

The Henry Stone Music album featuring the Lemon City Rhythm Section “Instrumental Magic 2”

Continuing the legacy of benevolence that began ten years ago when the late music industry legend Henry Stone discovered blind saxophonist Jeff Zavac and featured him on “Instrumental Magic,” generating over one million dollars in contributions to the Miami Lighthouse for the Blind - the organization that came to the aid of the renowned record pioneer when he lost his vision in his later years - Henry Stone Music released the second collection on Friday. “Instrumental Magic 2,” showcasing Zavac with the Lemon City Rhythm Section and produced by Stone’s son, Joe Stone, and guitarist Aaron Fishbein, spotlights the saxman rendering soul-jazz interpretations of ten hits written or made classic by sightless artists including Stevie Wonder, Ronnie Milsap, Jose Feliciano and Ray Charles, the last of whom was first recorded by Henry Stone in the 1950s.      
The five-piece Lemon City Rhythm Section – Zavac (sax, flute, woodwinds), Fishbein (guitar), Jerald Dorsett (keyboards), Shaka Pace (bass) and King David Hill (drums) – will perform music from “Instrumental Magic 2” at jazz hotspot Ball & Chain in the Little Havana section of Miami on Monday, June 27 at 6:30pm. Tickets are free while donations to the Miami Lighthouse for the Blind will be accepted at the venue and online at

Henry Stone, who forged an enduring legacy in R&B, dance and rap music prior to his 2014 passing at the age of 93, launched the “Instrumental Magic” series with the goal of creating modern American music with a classic American feel. Joe Stone was inspired to continue his father’s mission of positivity by promoting music recorded by live players while raising awareness and funds for the association that taught his father how to live without sight.

“Henry lost his sight in the last decade of his journey here on earth and Miami Lighthouse was a huge part of his ability to move forward,” said Stone, general manager of Henry Stone Music. “It is an honor and a joy to work with this group of very talented musicians on an important production that carries on the Henry Stone legacy. Musically, ‘Instrumental Magic 2’ creates a sonic palette filled with funk, soul, salsa, rock, R&B and jazz covering American standards loved the world over."

The first “Instrumental Magic” disc, one of the last albums produced by Henry Stone, paired Zavac with 1970s soul queen Gwen McCrae. The record remains one of the Henry Stone Music label’s most popular releases having received millions of plays on Spotify alone.
After losing his eyesight during cataract surgery while in his 80s, Stone turned to Miami Lighthouse for the Blind where he learned to adapt. In an effort to “repay” the organization that helped him, Stone facilitated a million dollar donation that funded the creation of a recording studio for the blind now named in his honor. His act of leadership and philanthropy garnered the inaugural Man of Vision Award in 2008 from Miami Lighthouse for the Blind, which provides vision rehabilitation and eye health services that promote independence, educates professionals and conducts research in related fields. For additional information, please visit    

“Instrumental Magic 2” contains the following songs:
“Hey Baby”
“I Got A Woman”
“Night Time Is The Right Time”
“I Just Called To Say I Love You”
“Isn’t She Lovely”
“I Wish”
“There’s No Gettin’ Over Me”
“Feliz Navidad”
“America The Beautiful”

Australian Pianist/Vocalist Matt Baker Calls New York City Home on Latest Album Almost Blue

Pianist Matt Baker's new recording, Almost Blue, is his fifth as a leader and second since 2010 when he moved to New York City from Sydney, Australia. Baker abandoned a comfortable career to position himself in the pool of big fish who leave an international array of smaller ponds to test their mettle in the jazz capital. That it was a wise decision is evident: Baker--well-known in Australia and Europe during the '00s for an approach deeply informed by Oscar Peterson, his idol and first influence in matters of intention, execution and time feel--interacts seamlessly with young New York A-listers Luques Curtis on bass and Obed Calvaire on drums, placing his exhaustive knowledge of chords and scales and stylistic dialects at the service of swinging melody without letting you see him sweat. Master guitarist Lage Lund augments the unit on six selections, while formidable tenor saxophonist Joel Frahm projects his singular instrumental voice on three.

The intersection of Baker's musical and personal journeys in New York is the subject of the 14-tune program, which Baker and eminent producer Matt Pierson culled from the Great American and late 20th Century Pop Songbooks. "I chose these songs because of the lyrics," Baker says. "Each one represents a certain place in my life during the period that led up to the recording. They convey the album's narrative, and have equal weight as pieces in the story."

Speaking of narrative, Baker sings on three selections, presenting his vulnerable emotionally connected voice. "I've been singing for 20 years, and singing will always be there, but playing the piano is strongest in my heart," says Baker, whose latest encomium is Back Stage magazine's 2016 Ira Eaker Special Achievement Award, given to "an outstanding performer on the rise."

In 2016, a worldwide audience can witness the fruits of Baker's New York R&D as he supports Almost Blue with a new trio, including Ahmad Jamal alumnus James Cammack on bass, and the crackling young drummer Darrian Douglas. "Since coming here, I feel I've begun to play with the band as opposed to having them accompany me," Baker says. "I feel that Darrian, James and I are creating whatever it is we do-various meters and rhythmic complexities, harmonic development, textural development--in the moment together."

The son of a jazz trombone player with a good record collection, Baker started jazz lessons at 12, and at 15-years-old he took a once-a-week gig "at a café close to my school that had a piano," which he retained until his twenties. During his final year at Sydney Conservatory, he spent several months in New York, where he encountered and took lessons from such piano heroes as James Williams, Benny Green and Jacky Terrasson. "Friends in Sydney were forcefully telling me I had to get to New York," Baker recalls. "I started to realize what I didn't know and what I had to learn, and I felt pressure--in a good way--to up my game and not get comfortable."
Baker recorded Talkin' Soul Food a week after returning to Sydney from another trip to New York, taken with the express intent of hearing every set by Peterson during a week-long engagement at the Blue Note. During that week Peterson befriended the intense, well-mannered youngster, and he remained Baker's friend and mentor for the remainder of his life, a fact that Baker honors with a still ongoing program devoted to Peterson's original music.

On the strength of that recording, Baker brought his trio to the 2003 Montreux Jazz Festival to serve as house band for its entire 2½-week duration. Festival founder and artistic director, the late Claude Nobs brought the trio back the next year, and had Baker play solo piano for the 2005 and 2006 editions. Baker represented his Swiss experience--which gave him an opportunity to meet and pick the brains of an international array of jazz celebrities, such as Herbie Hancock and Michel Camilo--with the 2006 trio and chamber orchestra album From An Afternoon With the Mountains.

With a year's savings as a cushion, Baker spent his first year in New York networking at such jam session hubs as Smalls, Fat Cat, Cleopatra's Needle, and Smoke, where he "hung out, listened, gave out the business card, and had stacks of people not call me," while also studying with pianist Taylor Eigsti, whom he met on a 2009 New York visit. In 2011, Baker self-recorded Underground, with top-shelf generational contemporaries: trumpeter Jeremy Pelt, tenor saxophonist Dayna Stephens, bassist Joe Sanders and drummer Greg Hutchinson. He spent the next four years building a solid career, side-manning with, among others, 7-string guitarist Bucky Pizzarelli, and vocalists Tierney Sutton, Judy Collins and Patrizio Buanne, and refining his own repertoire presentation in diverse rooms like Birdland, the Blue Note, Iridium, Kitano, Gin Fizz, Bemelmans, Le Cirque, the Zinc Bar, the Side Door and Scullers Jazz Clubs.


New Video From The New Album of Miles Davis Recordings Reimagined by Robert Glasper - EVERYTHING'S BEAUTIFUL; Watch the Erykah Badu-Directed Video For "Maiysha (So Long)"...

Longtime friends, collaborators and Grammy-winning musicians Erykah Badu and Robert Glasper have teamed up again for the track & video for "Maiysha (So Long)", from new album Everything's Beautiful--the visionary exploration of Miles Davis' music, featuring reimagined interpretations of his music produced by Glasper. The track's lyrics were written by Badu, and were based on "Maiysha" by Davis.

The video, entitled "So Long...That's What She Said," which Badu describes as having the feel of a short film, was conceptualized, written and directed by Badu. In keeping with the song's deceptively humorous lyrics, the "short" is a somewhat satirical wink at the musical performances from the classic variety shows of the '50s and '60s. The video stars a neurotic, beatnik chanteuse named Sarah Bellam--one of Badu's many personas--with Glasper as her tormented keyboard player and lover. The video also features a cameo by acclaimed harmonicist Frédéric Yonnet as the trumpet player performing Miles Davis' solo. The supporting musicians include Rashad "Ringo" Smith, drums, and Braylon Lacy, bass.

The "short" was co-produced by Badu's own Control Freaq Media and long-time collaborators Coodie and Chike of Creative Control, the team behind Badu's 2010 acclaimed and controversial "Window Seat" music video. In support of the video's release, Badu and Control Freaq Media have crafted a unique digital marketing campaign that includes a series of movie inspired posters, animated GIFs, and exclusive bonus content announced on Badu's social media platforms. Watch the video here:

Everything's Beautiful is out now and is part of Columbia/Legacy's commemoration of the globally renowned music innovator's 90(th) birthday. Released in late-May, the album debuted at #1 on Billboard's Jazz Album chart, and first week sales saw Davis charting the highest he ever has on the R&B Album Chart (#5), R&B/Hip Hop Album Chart (#10) and the Tastemaker Album Chart (#17).

The album is a beautifully crafted collection produced by Glasper, blending a diverse group of master takes and outtakes from across the incomparable Miles Davis Columbia catalog with an impressive lineup of contemporary artists and musicians to create original interpretations. Some of the featured guest artists on Everything's Beautiful include Illa J, Erykah Badu, Bilal, Phonte, Hiatus Kaiyote, Laura Mvula, KING, Georgia Ann Muldrow, John Scofield, Ledisi, DJ Spinna and Stevie Wonder.

Everything's Beautiful is unlike any other in Davis' discography. From the familiar (riffs and passages within the catalog) to the obscure (samples of Miles' in-studio instructions spoken after false starts), Glasper has built something unique but still unquestionably Miles. The album was executive produced with members of Davis' family--Erin Davis, Cheryl Davis and Vince Wilburn, Jr. from Miles Davis Properties, LLC. The cover art was created by Francine Turk and integrates elements of Miles Davis' artwork. With the cover, Turk creates a visual that is similar to the idea of Robert Glasper taking fragments of Miles music and reinterpreting in a unique and modern way. Everything's Beautiful is available now via iTunes ( and at the official Miles Davis store on

Erykah Badu is a four-time GRAMMY award-winning singer, songwriter and producer who also describes herself as a "DJ, director, activist, holistic healer, doula, veggie, bgirl, observer, and hustler." Regarded as the Queen of Neo Soul, Badu's sound--a concoction of soul, hip-hop and jazz--cannot be confined to a single genre. She has released five universally acclaimed studio albums and one live album. Last November, Badu released her first collection of songs in five years with the mixtape But You Caint Use My Phone, which included her viral take on Drake's "Hotline Bling" as well as a collaboration with Andre 3000. This summer, Badu appears in The Land, a film that debuted at the 2016 Sundance Film Festival.

01. "Talking S***"
02. "Ghetto Walkin" featuring Bilal
03. "They Can't Hold Me Down" featuring Illa J
04. "Maiysha (So Long)" featuring Erykah Badu
05. "Violets" featuring Phonte
06. "Little Church" featuring Hiatus Kaiyote
07. "Silence Is The Way" featuring Laura Mvula
08. "Song For Selim" featuring KING
09. "Milestones" featuring Georgia Ann Muldrow
10. "I'm Leaving You" featuring John Scofield and Ledisi
11. "Right On Brotha" featuring Stevie Wonder

Guitarist Ken Hatfield Releases Book/CD 12 Preludes for Solo Guitar

Award-winning composer and guitarist Ken Hatfield's 12 Preludes for Solo Guitar (Arthur Circle Music) exhibits the imagination, creativity, and formidable technique that have become Ken's trademark and have earned him widespread recognition as a musician of extraordinary talent and originality. In 2006 the ASCAP Foundation honored Ken with its prestigious Vanguard Award in recognition of his "innovative and distinctive music that is charting new directions in jazz." Ken's new book/CD 12 Preludes for Solo Guitar provides a captivating glimpse into his musical world for fans and fellow guitarists alike.

Some may question releasing a book/CD package in the digital age. Given that composers naturally want other musicians to perform their works, and considering how-from Sergei Rachmaninoff to Thelonious Monk-composers' performances of their own works have often been revealing, insightful, and enjoyable, Hatfield has chosen this format for his latest release. Although the book and CD are sold together, fans can also purchase the CD separately, exclusively at

While Ken is best known as a jazz musician, his choice of the classical guitar as his primary instrument and his many compositional commissions have found him with a foot frequently planted in the classical world. This dual musical personality has become a prominent enough feature of Hatfield's recent compositional work that some now associate him with the Third Stream musical movement championed by the late Gunther Schuller. In many respects 12 Preludes for Solo Guitar is as much an embodiment of this musical dual citizenship as it is a reflection of the guitar's unique harmonic capacities in a solo acoustic context.

Preludes are one of the earliest examples of a style or form developed specifically for instrumental music. Historically, they have served as introductions, at least until Chopin began writing stand-alone preludes. In their stand-alone capacity, Ken's preludes belong to Chopin's tradition.

There is a long established practice of improvising preludes. Classical musicians of earlier eras routinely improvised preludes as introductions to larger movements or pieces, just as many jazz musicians today improvise introductions to the standards that make up a large part of their repertoire. Hatfield's preludes are designed to use these traditions as a springboard to explore harmonic ideas and relationships, as well as techniques and the sonorities of the nylon string guitar, while investigating a variety of styles and forms ranging from Baroque (Prelude 3), to Samba in 3 (Prelude 6), to blues-based forms and content (Prelude 4), to rhapsodic serenades (Prelude 11), to modern uses of dissonance and odd meters (Prelude 9). The results will enchant both player and listener.

Besides their pedagogical value, these preludes also reflect an ongoing concern that Hatfield has addressed in much of his recent compositional work-the nexus between the through composed and the improvised, and how any distinction between the two is perceived by one listening to a recorded performance. While at one level such concerns are about process, it is through such explorations of process that these preludes came into existence. Some of them feel like improvisations, while others feel like recited works. It is in the places where these approaches reveal themselves to be far less divergent than is often assumed, that the inspiration for these marvelous musical gems originated.

Sometimes tragedy can be the impetus for creative catharsis. Many in the guitar world, including Ken, were shocked and saddened by the untimely passing of world-renowned luthier Thomas Humphrey in 2008. In some very real ways, the remarkable 1991 Humphrey Millennium guitar that Ken plays on the recording of these preludes inspired their creation as a testament to the genius of his late friend.

Many things are required to create a musical project like this one. Everything from inspiration to hard work to the application of skills and knowledge must come together. Yet in the final analysis the music must speak for itself. Any and all who listen attentively will find that these 12 Preludes speak as eloquently of life and love as they do of joy and loss.

Ken Hatfield''s compositional experience covers a wide range of styles and instrumentations. In addition to composing jazz works for his own ensembles, he has written chamber pieces that range from solo classical guitar to mixed ensembles of various sizes. He has composed choral works and ballet scores, including commissioned works for Judith Jamison, the Washington Ballet Company, and the Maurice Béjart Ballet Company. And he has written scores for television and film, including Eugene Richards' award-winning documentary, but, the day came. Arthur Circle Music has published six books of Hatfield's compositions, and in 2005 Mel Bay published his book Jazz and the Classical Guitar: Theory and Application, which is designed to demonstrate Ken's unique approach to playing jazz on a classical guitar. Ken has released nine CDs as a leader on the Arthur Circle Music label. All feature him performing his original compositions, five in ensemble settings.

In addition to performing as a solo artist and with his ensembles at prestigious venues such as The JVC Jazz Festival, The Knitting Factory, The Classic American Guitar Show, The Smithsonian Jazz Café, The Cathedral of St. John the Divine, the Whitney Sculpture Court, and the North Wales International Jazz Guitar Festival, Hatfield has performed and/or recorded with artists and ensembles as diverse as The New York Pops, Charlie Byrd, Jack McDuff, Chico Hamilton, Jimmy McGriff, Charles Aznavour, Bob Cranshaw, Grady Tate, Harold Mabern, Marcus Miller, Kenny Kirkland, Dom Salvador, Claudio Roditi, João Donato, Duduka da Fonseca, Marlena Shaw, and Toni Braxton.

Saxophonist WILL VINSON Celebrates PERFECTLY OUT OF PLACE Coast To Coast

Alto saxophonist and composer Will Vinson will continue the celebration of his sixth album, and his debut for 5Passion, Perfectly Out of Place, with dates on both coasts, July 16 at The Blue Whale in Los Angeles, followed by July 25 at The 55 Bar in NYC!

Vinson possesses many gifts; incredible power, dramatic sensitivity, prodigious technique, and perhaps most importantly, a captivating sound that you want to hear again and again. John Fordham of The Guardian described a "superb solo of rugged leathery sounds turning into mellifluous high notes", with "secure control and storming energy". While JazzWise Magazine has said that Vinson has a knack for "combining a thoughtful originality of conception with energy and fluidity of execution in very satisfying proportions". It is this abundance of qualities that has made Vinson a serious part of the conversation when talk turns towards modern jazz musicians who are playing and composing with a high level of originality and artistry. In addition to being an acclaimed bandleader with five recordings under his own name, Vinson is a member of several leading ensembles: Gonzalo Rubalcaba's Quintet (appearing on the Grammy nominated albums Suite Caminos, and Charlie), Ari Hoenig's Punk Bop and Nonet, Miguel Zenon's Identities Orchestra (Grammy nominated for Identities are Changeable), and the much lauded OWL Trio (with Lage Lund and Orlando le Fleming). Vinson has also toured/recorded with Rufus Wainwright, Sufjan Stevens, Sean Lennon, Martha Wainwright, Beth Orton and Harper Simon.

Will Vinson is proud to announce the release of his debut recording for 5Passion and his sixth overall, Perfectly Out of Place, featuring an all-star group comprised of Mike Moreno on guitar, Gonzalo Rubalcaba on piano, Matt Penman on bass and Jeff Ballard on drums.  Perfectly Out of Place follows a string of inspired albums from Vinson: It's For You (Sirocco Jazz, 2004, "an auspicious debut, an album that is as mature in its conception as it is in its execution" - The NYC Jazz Record, formerly AAJ New York), Promises (NineteenEight Records, described as "impressive" and "coolly restrained" by Nate Chinen of The New York Times), The World (Through My Shoes) (a live recording called "marvelous" by DownBeat Magazine and "exhilarating, cascading ... outstanding" by JazzTimes), Stockholm Syndrome (2010, Criss Cross Records), and Live at Smalls (2013), one of the most successful albums on the Smalls Live label.

With Perfectly Out of Place Vinson felt ambitious. This album contains more-than-usual through-composed music from the saxophonist's pen, and also marks his first use of overdubs, synthesizers, vocals and strings. His aim was to enhance and augment his Quintet's sound (featured on Vinson's previous five albums) that many fans and critics have come to know and love. Vinson elaborated in the album's liner notes, "It was an exciting prospect for me, but one that was made challenging by the stubborn insistence of everyone in the band on making everything sound immediately perfect and unimprovable . . . you get what you pay for, I suppose. I've tried to add without inadvertently taking away, and I hope you feel it's been a success." He added, "The entirety of this project, from the music's conception in the mountains of Banff, Alberta; through the joyous session at Avatar (to my knowledge the world's greatest recording studio), has been a thrill. One that I'd be happy to go through again, if it weren't for the fact that this record is now complete and in the hands of the most important person in the process, the listener."

Vinson's collaborators on Perfectly Out of Place include four of the world's most extraordinary improvising musicians, Mike Moreno, Gonzalo Rubalcaba, Matt Penman and Jeff Ballard. "Their importance to this project cannot be overstated, each one of them being irreplaceable. It's fair to say that my personal aesthetic identity would not be quite what it is without the influence of these masters over the past (gulp) two decades," said Vinson. The saxophonist also felt exceptionally fortunate to be able to enlist Jamey Haddad (heard on "Skyrider"), Jo Lawry (heard on "Desolation Tango" & "Skyrider"), and the Mivos Quartet (heard on "Desolation Tango", "Skyrider", "Intro to Limp of Faith") to contribute to this project. "Jamey's vibe and generosity of spirit are legendary, and his playing joyous and infectious. It's hard to think of anyone other than Jo who would have the chops, not to mention relished the challenge, to achieve what was asked of her in this recording. I first heard Mivos right at the time I was beginning to consider using strings on this project. They performed Steve Reich's Different Trains and completely blew me away", said Vinson.

On Perfectly Out of Place, the listener gets unadulterated "Will Vinson music"; which not only means playing and composing that combines a great knowledge and respect for the century-long jazz tradition, with explorations into the rhythmic, harmonic and melodic realms of contemporary forms, but this artist's brilliant vision brought to life with great skill and unmitigated passion.   
Tracks: 1. Desolation Tango, 2. Upside, 3. Willoughby General, 4. Skyrider, 5. Intro To Limp of Faith, 6. Limp of Faith, 7. Stiltskin (Some Drunk Funk), 8. Chalk It Up, 9. The Clock Killer, 10. Perfectly Out of Place

All compositions by Will Vinson. Produced by Will Vinson and Gonzalo Rubalcaba.

John Beasley presents MONK'estra, Volume 1: Thelonious Monk's Legacy Reimagined with Big Band

John Beasley has shared stages with some of the most important names in jazz during his three-decade career. From his days as a member of Freddie Hubbard's quintet and one of Miles Davis' last touring bands to his role as Music Director for Jazz Day galas for the Thelonious Monk Institute, Beasley has had a first-hand involvement with the genre's never-ending evolution.

Thelonious Monk is a Mount Rushmore figure in the creation of modern jazz. As the centennial of his birth rapidly approaches, Beasley--pianist, conductor and arranger--has grappled with the complex composer's legacy with his versatile big band riffing on the wit and unmistakable architecture of the Monk songbook with irrepressible energy and swinging abandon on presents MONK'estra, Volume 1, available August 19 on Mack Avenue Records.

The album and band have its roots in a commission from Los Angeles's Luckman Jazz Orchestra. When the gig was over, Beasley felt inspired to search deeper and continued to write more arrangements long after the performance, eventually assembling some of the finest musicians in Los Angeles to bring the charts to life in a musician's union rehearsal room.

Amassing enough arrangements and developing a signature feel, he took the band public at Los Angeles's jazz incubator, the Blue Whale, to sold-out crowds. With a fifteen-piece ensemble, which includes first-call horns like Bob Sheppard, Bijon Watson, Rashawn Ross, Beasley conducted the band with an improviser's eye--free flowing and open to solos that add to the narrative. Since that casual debut in 2013, the band has become a fixture on the scene, performing at Disney Hall, Jazz Standard, Ford Amphitheatre, SFJAZZ twice and most recently at the Playboy Jazz Festival held at the world famous Hollywood Bowl.

"I don't play a lot of piano in the band," Beasley says about his role. "The band is my piano. It gives me the opportunity to change the music on the spot by conducting. I can cut everybody out and have myself play or I could change the order of the solos. Whoever is hot that night, I can keep throwing it their way."

Through a lens influenced by Thad Jones, Gil Evans, Herbie Hancock and Aaron Copland, Beasley found a compositional openness in Monk's music that encouraged him to discover the right combination of freedom and restraint, coaxing the very best from the ensemble.

"Jimmy Heath once told me that all the good stuff is already built into Monk. The tunes are built to swing. The sound he got out of the piano, the way he played the piano, the voicings he used, the wild intervals. His groove was so strong." And Beasley is no stranger to strong grooves. "The sign of a great composer--like Gershwin, Ellington, Wayne Shorter, or Stevie Wonder--is that you can play their tunes at any tempo and change the structure if you like. Bach sounds incredible at any tempo. So does Monk. His tunes are a living and breathing organism."

Opening track "Epistrophy" was Beasley's first attempt at a large-scale Monk arrangement and he tackles the angular tune with an elongated sense of time, controlling each breath with unwavering patience. Vibraphonist Gary Burton shines during a shimmering guest spot. "What a virtuoso," says Beasley. "One take, boom! He just nailed it."

Beasley pulls from two very different worlds for "Skippy" simultaneously evoking the Jaco Pastorius and Jimmie Lunceford big bands. Sheppard is in top form on the twisting chart, unfurling a crisp soprano saxophone over the controlled chaos of riffs and handclaps. Beasley infuses a literal electricity for "Oska T" and a trio version of "'Round Midnight." The band conjures a sinister swagger, generating a buzzing hive for trumpeters Gabriel Johnson and Brian Swartz to cut loose while the trio embraces the pliability of Monk's greatest known composition with a contemporary bend.

During a visit to New Orleans, Beasley was inspired to fuse multiple Monk riffs to create "Monk's Processional," a brief second-line celebration imbued with southern charm and spirit. A crowd favorite, the performance strikes just the right tone of playful reverence.

On the densely shifting moves on "Ask Me Now," harmonica player Grégoire Maret guests with support from Tom Peterson and Tom Luer's spooky bass clarinet duo. The unusual instrumentation helps to push the languid stroll into another world. Two tunes embrace the footwork essential to Monk's greatest ideas. Beasley envisions a soft-shoe routine for a bouncing "Gallop's Gallop." "Little Rootie Tootie" picks up a partner, embracing the cha-cha amid the funky refrains and growling support of the brass. The band closes out with "Coming on the Hudson," making deliberate steps amid the arrangements delicate flourishes and steady push from the endlessly creative drummer Terreon Gully.

As the name of the album implies, this is only the beginning for Beasley's large-scale exploration of the High Priest of Bebop. The band's introduction is an undeniable statement from a great new voice in big band arranging and a testament to the timelessness of Monk's music.

"We all know that Monk's music is strong on his own," says Beasley. "What's even more amazing is how much room there is to keep his music alive. The songs are a living and breathing organism. It can keep changing with the times. Maybe we're even catching up to his time."

Born in Louisiana, Beasley started writing arrangements in junior high school, which sparked the attention of Jimmy Lyons--the founder of the Monterey Jazz Festival--who recommended him for a scholarship at the Stan Kenton summer jazz camp. The pianist cut his teeth with Miles Davis and Freddie Hubbard in the 1980s and has since performed and recorded with a who's who of artists including James Brown, Marcus Miller, Chaka Khan, Christian McBride, Steely Dan, Dianne Reeves, Sergio Mendes, Carly Simon, John Patitucci, Al Jarreau, Kelly Clarkson, George Duke, John Legend, Chick Corea, Destiny's Child and Queen Latifah, among others.

Living in Hollywood, Beasley juggled a touring musician's schedule while working in studios composing for award-winning television sitcoms and commercials including Cheers, Family Ties, Star Trek and Fame, to name a few. He has worked with multiple Oscar-nominated film composer Thomas Newman for three decades on credits including James Bond Spectre and Skyfall, Get On Up: James Brown, The Best Exotic Marigold Hotel I & II, Finding Nemo & Finding Dory, Wall-E, Shawshank Redemption and more.

While touring with Miles Davis, Beasley was inspired to make his first of eleven recordings, Cauldron--which was produced by Walter Becker of Steely Dan-and went on to earn a GRAMMY® Award-nomination for his 2011 release Positootly. He has since served as musical director for the Monk Institute's gala concerts since 2011, guiding legends and the next generation of jazz greats through all-star tributes to Quincy Jones, Bill Clinton, George Duke and Aretha Franklin. He has also served this role for International Jazz Day since 2012, notably at the White House's 2016 blowout bash. Under the global eye, he seamlessly shaped the televised concert featuring Aretha Franklin, Wayne Shorter, Joey Alexander and Sting through a night of swing and celebration. Since 2005, Beasley has worked as Lead Arranger for American Idol until its final season in 2016, and ushered the twelve female finalists of 2005 (including Carrie Underwood) by coaching and rehearsing them as well as selecting and arranging songs.

John Beasley · presents MONK'estra, Volume 1
Mack Avenue Records · Release Date: August 19, 2016



A beautiful tribute to a legendary Chicago soul historian – the late Bob Abrahamian, well-remembered as a completely devoted soul music collector, DJ, and one-man archive who spent the late years of his life trying to uncover lost corners of the Windy City soul scene of the 60s and 70s! Bob's specialty was Chicago groups, and this set is overflowing with rare harmony soul that most of us would never have heard otherwise – the kind of obscure cuts that Abrahamian played on his famous radio show on WHPK (also the alma mater of Dusty Groove, too) – and presented beautifully here by the folks at Numero, on one of the best collections they've given us in years! The notes not only present Bob's story, but also feature bits of interviews he did with obscure Chicago soul artists, alongside photos and other notes too – to support a stunning selection of harmony soul cuts that include "How Could You Love Him" by Shades Of Brown, "Hard To Know" by Oneness, "A Fool Like Me" by Enchanters, "Reach For The Truth" by Puzzle People, "The Girl In The Window" by The Mist, "Second Story Man" by Chocolate Sunday, "Let Love Come In" by Cliff Curry, "Southside Chicago" by Otis Brown & The Delights, "Moaning & Crying" by The Dontells, "So I Can Make This Change" by Krash Band, and "It Ain't Fair (part 1)" by Ahead Of Our Time.  ~ Dusty Groove


Really lovely sounds from the father/daughter team of Clarice and Sergio Assad – a pair who would already be great as a musical duo, even without a family connection! Sergio plays acoustic guitar throughout – with a fullness of sound, but also the lighter, lyrical sensibility that makes him a perfect match for Clarice's vocals – which have that mix of jazz and more personal expression we love in our favorite Brazilian singers from the 70s – like Tania Maria or Joyce. The songs are simple, and often poetic – but never in a soppy way – more like they're being written in air by guitar and voice, creating a marvelous portrait in sound. Titles include "Capoeira", "Cidade", "Sol De Clave", "Ventos", "The Last Song", "Angela", and "Song For My Father". ~ Dusty Groove


If there's one thing we can expect from this trio of players, it's that they're never going to be too sentimental – as a group like this is always moving forward into the future, opening up new ideas with every moment of their music, and continuing to blow us away after all their many years in music! An album like this is a great reminder that sometimes the greats do it better than anyone else – especially when it comes to free improvisation – because there's a breathlessness to this album that never lets up – a balance between the energy of all three musicians, both as individuals and parts of a whole, that we sometimes don't hear from up-and-comers when they try to hit this territory. The album features two long improvisations – "Song Sentimental" and "Dark Blues" – both a perfect fusion of the talents of Peter Brotzmann on tenor and b-flat clarinet, William Parker on bass, guembri, shakuhachi, and shehnai – and Hamid Drake on drums and percussion. ~ Dusty Groove



A brilliant late-life session from these two jazz giants – and maybe the most striking record we've heard from either player in years! The album features just the bass of Ron Carter and tenor of Houston Person – in a wonderfully stripped-down setting that really gets right to the heart of the matter, and which lets us hear both musicians at a level that's extremely up-close and personal – as they improvise with undimmed magic on a set of standards that really turn into something else entirely in their hands! Carter's a player who we've always known to take best advantage of open space like this – and Person is equally great in the format, and maybe wins us over even more than on any of his other recent dates for the label. Titles include "Bye Bye Blackbird", "Blue Monk", "Blame It On My Youth", "I Didn't Know What Time It Was", "Fools Rush In", and "Can't We Be Friends". ~ Dusty Groove

Beautifully subtle guitar work from Marcos Amorim – a musician who plays an electric instrument, but can often make it feel as if waves of sound are just cascading out gently into the air – more tone than attack on the strings, with this style that's deft, but very unassuming – and which works especially well with the Fender Rhodes lines used on a good number of tracks on the album! The balance is key to Amorim's talents – as the whole thing would be too smooth or slick in the hands of someone else, but still has that up-close, personal vibe we loved in Marcos' other albums for Adventure. Other instrumentation includes bass and drums – and singer Delia Fischer appears on a few of the album's tracks, although the set is mostly instrumental overall. Titles include "Bolero", "January Ashes", "Dance Of The Five Princesses", "Sea Of Tranquility", "The Further Away The Closer I Get", "Sea Time", and "My African Goddess". ~ Dusty Groove

JAMAICA JAZZ 1931-1962

A huge vision of Jamaican music in the pre-reggae years – a wealth of jazz recordings from the 40s and 50s, including some key sides of Jamaican musicians who emigrated to London! The set features way more than just some early instrumental moments in the years before ska and rocksteady – as the package begins with bigger band sounds, moves into some calypso-influenced jazz, and then steps out in a sweet array of hardbop and sounds inspired by some of the growing changes in Jamaican rhythms. And even the London recordings seem very well-chosen – early in the careers of musicians who'd later break bigger in the UK, but who work here with more ties to the island of their roots. Titles include "Donkey City" and "Swing Lane Girl/Iron Bar" by Lord Fly, "Wheel & Tun Me" by The Jamaican Calypsonians, "Snakehips Swing" by Ken Snakehips Johnson, "Big Top Boogie" by Leslie Jiver Hutchinson, "Cherokee" and "April In Paris" by Joe Harriott, "Bang" and "Eb Pob" by Dizzy Reece, "Manhattan" and "Cumana" by Cecil Lloyd, "Deborah" and "Rhythm" by Wilton Gaynair, "Air Horn Shuffle" and "Swing For Joy" by Count Ossie & The Wareikas, "Tangerine" and "Harry Flicks" by Harold McNair, "The Answer" by Tommy McCook, and "Old Devil Moon" by Totlyn Jackson. 3CD set features 60 titles in all – and notes in French and English! ~ Dusty Groove



The debut of a great singer on Blue Note – and one who plays her own piano and Fender Rhodes as well! Kandace Springs has a gentle style that's part soul, and part jazz – as expressive as the former at most moments, but with a lot of jazz-based phrasing in the instrumentation, which underscores the message in her music in a really wonderful way! Light keyboard currents step nicely through more acoustic instrumentation – all with a laidback flow that's the perfect pace for the singer at her best. Terence Blanchard plays guest trumpet on two tracks – and titles include "Soul Eyes", "I Thought It Would Be Easier", "Place To Hide", "Novocaine Heart", "Rain Falling", "Too Good To Last", "Fall Guy", "Neither Old Nor Young", and "The World Is A Ghetto". (Special bonus – these copies come with an autographed booklet from Kandace!) ~ Dusty Groove


A really warm, well-crafted set from Italian trumpeter Massimo Guerra – just the kind of record we've come to expect from other jazz labels from his scene, but quite a surprise from the mostly-soul Irma label! The set's totally straight – and done in a way that really lets Guerra show off his talent for songwriting – as most of the tracks on the album are his own, and handled by a shifting array of small groups that work well with the leader's lyrical bent. Other players include Enrico Nisati on piano, Davide Grottelli on tenor, and Carlo Micheli on baritone – and the rhythms really benefit from warm basslines by Piero Simoncini, whose playing holds the record together in a wonderful way. Titles include "Morgan Beat", "Last Day Of Spring", "Tango 4 Clemetina", "Tres Palabras", and "Jazz Mine". ~ Dusty Groove


Easily one of the best deep soul albums we've heard in years – new work by a singer who hails from Indiana, but who's able to give the best from Memphis and Muscle Shoals a real run for their money! Durand Jones isn't one of these cats who's trying to fake it with a few retro touches – and instead, he gets right to the heart of the matter, right from the very first note – with a deep vocal approach that's rivaled by a rare few in the contemporary scene – maybe Lee Fields (and maybe that's it!) The vocals are perfect – never forced or cliched, and really right on the money – and the Indications do a great job, too – with these lean backings that never overwhelm, yet really help keep things funky. Hats off to drummer Aaron Frazier and guitarist Blake Rhein, who wrote most of the songs on the record with Jones – and titles include "Make A Change", "Can't Keep My Cool", "Groovy Babe", "Giving Up", "Now I'm Gone", and "Is It Any Wonder". ~ Dusty Groove

Thursday, June 23, 2016

Jazz-Fusion Legends BRAND X Reunite To Tour U.S. Fall 2016 / Spring 2017

Legendary Jazz-Rock-Fusion band BRAND X has reunited and is preparing to celebrate their reunion with a Fall 2016/Spring 2017 U.S. tour, including a headline performance at Progtoberfest in Chicago on October 21st. Also on this initial run will be shows in Milwaukee, Detroit, Cleveland and Boston to name a few.

BRAND X are recognized as true musical pioneers, as they helped create an entire musical genre and influenced a broad spectrum of musicians and bands, from Phish to Dream Theatre. They are unrivaled in their creativity, originality and approach. Their contemporaries include bands such as Weather Report, Headhunters, Mahavishnu Orchestra, Jaco Pastorious and Chick Corea, all crafting a unique blend of Jazz, Rock, and Ethic influences now widely known by fans worldwide as Fusion.

Many claim it’s BRAND X's unique combination of masterful chops mixed with their childlike melodies that make so special. Some musicians play from inside their own world, but John Goodsall, Percy Jones, Kenwood Dennard and the guys from BRAND X play from their own universe!

After years of rumors of a potential reunion, it is finally happening. Three of the four main members came together recently in New York, and according to sources present at the rehearsals, listening to them play was “ traveling back in time to the legendary 'Livestock' album – there was no question this was BRAND X! Their sound was uncannily identical to the BRAND X of 'Livestock' – and that in itself speaks volumes”

* John Goodsall (Guitars): Original BRAND X guitarist says, “It's a better version now. We’re all a lot more experienced – a lot more skilled… And that goes for every one of us.”

* Percy Jones (Bass): Original BRAND X bassist says, “This music takes us back to a certain space – which was really cool. I wasn't sure I’d ever feel that feeling again – and yet here it is!”

* Kenwood Dennard (Drums): Original BRAND X drummer who’s also played with Sting and Jaco Pastorious says, “When we used to play this music, it felt eternal. We used to get into a zone where it felt so deep. Now that's exactly how it felt again.”

* Chris Clark (Keyboards): Formerly of John Entwistle Band (The Who), and Richie Cannata's Band (Billy Joel).

* Scott Weinberger (Percussionist): Sessions with Adrian Belew, and live with The Security Project (Jerry Marotta, formerly of Peter Gabriel and Trey Gunn formerly of King Crimson)

The reunited BRAND X will be performing material from their first three albums on these initial tours in October and November 2016. 

“Unorthodox Behaviour” was a superb debut album. Members Percy Jones, Phil Collins, Morris Pert, John Goodsall and Robin Lumley had been doing sessions for Brian Eno, and banded together for this initial release.

“Moroccan Roll”: Surprises everyone by hitting #37 in the UK charts. Experimenting with some Eastern tonalities, including a shimmering Sitar played by Goodsall on “Sun In The Night”, BRAND X create an uncanny masterpiece – a fusion album with melodies. Percussionist Morris Pert now joins the band, and manages to bang on everything including a few kitchen sinks. Robin Lumley's “Disco Suicide” is as catchy as it is clever. Percy Jones galloping “Malaga Virgen” races with furious Bass and Drums – and remains a show-stopper live.

“Livestock”: A true live album in every sense of the word. Recorded at gigs at Hammersmith Odeon and Ronnie Scott's Jazz Club, it shows that band at their most mature with finesse and macho chops rarely heard live. Robin Lumley has stated that the entire Livestock album was mixed in one day with absolutely no overdubs.

Guitarist John Etheridge And Jazz Vocalist Vimala Rowe Break New Ground On Out Of The Sky

Just released is veteran guitarist John Etheridge and vocalist Vimala Rowe’s breathtaking collaboration, Out Of the Sky. John Etheridge’s reputation in the jazz world cannot be overstated. A genuinely virtuosic fusion guitarist, Etheridge is one of a handful of players who can claim to have helped shape the character of modern jazz guitar. He has been described by fellow fretsman Pat Metheny as ‘one of the best guitarists in the world’, a distinction that is due in no small part to his tireless exploration of the possibilities of his instrument. A hugely respected artist in his own right, Etheridge also claims an impressive collaborative history, from his seminal work with groundbreaking fusion group Soft Machine to his longstanding status as the guitarist of choice for jazz icon Stéphane Grappelli.

It is safe to say, then, that when it comes to playing companions, Etheridge’s judgement is second to none. In vocalist Vimala Rowe, he has not only found a partner of rare ability but a talent that perfectly compliments his explorative nature. An exemplary jazz singer with a faultless and deft expression, Rowe has a unique style that is further enhanced by her past training in classical Hindustani vocals. Her soulful, moving, and unerringly committed performances on Out Of The Sky are truly revelatory. 

Out Of The Sky is an album that offers both a quintessential jazz feel and the discernable atmosphere of new territory being discovered. Peppered throughout the refined jazz and blues tones are tantalising touches of flamenco, Indian classical, and African timbres that beat at the boundaries of genre. This combination of influences, along with Etheridge and Rowe’s staggering sensitivity to each other’s styles, makes Out Of The Sky an otherworldly experience. Perhaps most pleasingly, the tracks also resonate with the deeply personal - as well as musical - connection shared by these two artists at the top of their game. 

Out of the Sky is a powerful, expressive, and joyous meeting of minds. With this outstanding collaboration, John Etheridge and Vimala Rowe have created an album that marks out the vocalist-guitarist duo as a site of previously untapped possibility.

Drummer Will Calhoun Pays Tribute to a Profound Influence on Celebrating Elvin Jones

Although he's best known as the hard-driving, groove-oriented drummer for the pioneering rock group Living Colour, Will Calhoun has played in a staggering variety of styles and traditions over the course of his eclectic career. Straight-ahead jazz, fusion, traditional African percussion, funk, hip-hop, and of course hard rock -- Calhoun has explored them all, and he traces the roots of all of them to one man: legendary drummer Elvin Jones.

On his second album for Motéma Music, Celebrating Elvin Jones (due out August 19), Calhoun pays tribute to his earliest and most profound influence with a stellar band of musicians, all of whom were impacted by Jones through their personal growth as a musician or their past working with him directly: bassist Christian McBride, saxophonist Antoine Roney, pianist/keyboardist Carlos McKinney, and trumpeter Keyon Harrold. The great keyboardist Jan Hammer, a member of Jones' trio for On the Mountain (1975), joins the band for a reprise of that album's Gene Perla-penned track "Destiny;" and Senegalese percussionist Doudou N'Diaye Rose joins with a group of drummers for the traditional Japanese folk song "Doll of the Bride."

"Elvin connected my worlds," Calhoun says. "Although I saw him playing jazz, I felt rock and roll, I felt fusion, I felt African music. It sounds electric, it sounds acoustic, it sounds very African, it sounds very Latin, there are all these elements in there."

Calhoun first became acquainted with Jones' playing as a young child hearing the drummer's recordings with the classic John Coltrane Quartet -- a band that he now considers part of a Holy Trinity with the second great Miles Davis Quintet and the Jimi Hendrix Experience. At the age of 14, Calhoun witnessed Elvin playing for the first time at the Village Vanguard and had the opportunity to meet and speak with the drum legend on various occasions throughout the years prior to Jones' passing in 2004.

"Listening to Coltrane's band in my youth reminded me of some kind of an incredible explosion," Calhoun says. "The music was beyond jazz. There were a few records in those days where you put the needle down and you didn't make it back to the couch. The Coltrane records were some of those albums where I just stood there staring at the needle and listening, and Elvin was driving that train -- no pun intended -- by shoving a lot of coals into the fire. He had a profound effect on me."

Jones also had a profound effect on all of the members of the band that Calhoun assembled for the occasion. McBride only played with the drummer on a few special occasions, including saxophonist Javon Jackson's debut album, Me and Mr. Jones. Both Roney and McKinney can boast of more extensive experience under Jones' leadership, with both appearing on the drummer's final release, The Truth: Heard Live at the Half Note. While Harrold did not have the opportunity to ever perform with Jones, the drummer has long influenced him. Calhoun drew on all of their experiences as he developed the music for Celebrating Elvin Jones.

"Hearing those guys telling stories about when they were on the road with Elvin was helpful," he says. "I chose according to what music would best represent my vision. I also wanted to put my own vibe into the music."

The songs that Calhoun selected for Celebrating Elvin Jones span the late drummer's career, though they also reflect a distinctly individual approach to that catalogue. Calhoun devised the repertoire based on purely musical instincts, not just skimming the drummer's most recognizable tunes. There's nothing on the album from the Coltrane Quartet, and "Three Card Molly," perhaps Jones' best-known composition, is missing from the track listing -- in part because Calhoun recorded a memorable version for his 2006 release Native Lands in the immediate aftermath of Jones' death.

The rousing opener "EJ Blues" was a staple of the Elvin Jones Jazz Machine's live performances in the 1980s, while Wilbur Little's stabbing modal tune "Whew" dates back to the drummer's 1969 album Poly-Currents. John Coltrane's "Harmonique" predates Jones' tenure in the saxophonist's band, but the drummer recorded it on his 1984 tribute, Brother John. Jones recorded Wayne Shorter's "Mahjong" on the composer's 1964 release JuJu, while his wife Keiko contributed "Shinjitsu," which was recorded on 1985's Live at Pit Inn. The meditative "Sarmastah" is Calhoun's sole original composition on the album, featuring the drummer playing blissful 12-string acoustic guitar to conjure a transcendent mood in conjunction with Roney's soprano and McKinney's electric piano.

Two very special guest appearances close out the album. Hammer, as mentioned above, originally recorded "Destiny" with Jones in 1975, so Calhoun was honored to have the influential Czech keyboardist contribute to the album. Hammer, who came to prominence as a member of the Mahavishnu Orchestra and whose breakthrough success on Miami Vice coincided with Living Colour's biggest hits, is instantly recognizable as his lazing, soaring synths pair off with Calhoun's raucous drumming.

Finally, Calhoun opens the traditional Japanese folk song "Doll of the Bride" with a recording of the late Senegalese percussion master Doudou N'Diaye Rose with a group of drummers. Calhoun treasures his memories of meeting Rose, visiting his house in Senegal and having the opportunity to ask questions of the master. The experience brought back memories of a visit the drummer made to saxophonist Roney's home for rehearsal, where he noticed a photograph of Jones in Africa surrounded by hand drummers, making an explicit connection that he'd always heard intuitively.

"Elvin and Doudou reminded me of each other," he says. "They have a lot in common in how they speak about rhythm and music in a very respectful, classy, educated and freeform way. I don't know if they ever met, but I wanted to recognize the energy and spiritual camaraderie between those two gentlemen."

In recording Jones' music, Calhoun didn't want to imitate the drummer, but simply -- as is only appropriate for such a restlessly inventive and forward-thinking artist -- to absorb his influence and explore his music in a uniquely personal and progressive style. "I wasn't trying to nail Elvin's playing or sound," he explains. "I love Elvin and all of his contributions. He's inspired me in so many ways, even playing with Living Colour, so this piece, to me, is celebratory. It's a thank you and a respectful homage to this wonderful musician."
Will Calhoun · Celebrating Elvin Jones
Motéma Music · Release Date: August 19, 2016



The record we've been waiting years for Jeff Parker to make – a fantastic funky set that shows off a whole new side of his talents! Parker's guitar has been on plenty of great albums over the past decade or two, but this set may well be one of his greatest moments so far – a really unusual, really personal set that takes his music to a whole new level – partly schooled by vintage funk, as you might guess from the cover – but also partly set up in a spirited new direction that propels Jeff farther forward than any other record! Parker plays guitar and a range of keyboards – and the album almost has a laidback Shuggie Otis vibe at points, but is a lot more complex overall – thanks to excellent rhythm work from Paul Bryan on bass and Jamire Williams on drums – who ground the sound, but can take off freely with Parker, too – as does Josh Johnson on alto, flute, and some other keyboards too. The whole thing almost puts Jeff into Robert Glasper territory – in its unique blend of jazz, funk, and soulful currents – but very unique, a genre unto his own, really well-deserved after all these years. The album's brilliant from start to finish, with cuts that include "Executive Life", "Para Ha Tay", "Here Comes Ezra", "Jrifted", "Visions", "How Fun Is It To Year Whip", and "Get Dressed". ~ Dusty Groove


Incognito hardly need to go off in search of better days – as all the many years they've given us music, the days have always been pretty darn great! Yet the title's also a great reminder of the group's unflagging positive energy and optimism – a quality that made them one of the key forces helping to reinvigorate soul music at the start of the 90s, and still has them burning strong all these many years later! The trademark blend of jazz, funk, and soul is perfect throughout – led by the legendary Bluey, and featuring vocal contributions from top-shelf singers who include Tony Momrelle, Maysa, Avery Sunshine, Vanessa Haynes, and Imaani. The whole thing's great – we wouldn't expect anything less – and titles include "Just Say Nothing", "Love Born In Flames", "Echoes Of Utopia", "Racing Through The Bends", "Love's Revival", "Selfishly", "All I Ever Wanted", and "Better Days". ~ Dusty Groove


Perhaps the best to date from trumpeter Marquis Hill – still a young player, but he plays with a depth of Chicago soul jazz history in his musical DNA, even as he brings in profoundly modern touches! Marquis was splitting his time between Chicago and NYC by the time The Way We Play was recorded, but he's really showing a deep love for Chicago here, from the cover art to the choice of material, in which he's invigorating classic numbers with fresh, youthful urgency. Core players include Makaya McCraven on drums, Christian McBride on alto, Justin "Justefan" Thomas on vibes and Joshua Ramos on bass – with guest vocalists Christie Dashiell and Meagan McNeal, poet Harold Green III, percussionist Jan Pastor and trombonist Vincent Gardner. Includes "The Way We Play/Minority", "Moon Rays", "Polka Dots And Moonbeams", a truly fresh, slowed down and moodier take on the Herbie Hancock classic "Maiden Voyage" with some emotive wordless vocals, "Fly Little Bird Fly", "Beep Durple", "Straight, No Chaser", "My Foolish Heart" and "Smile". ~ Dusty Groove


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