Omara Portuondo begins this album away from Cuba, saluting a genuine crooner avant la lettre, the Frenchman Henri Salvador, with “Yo vi”. Swami Jr’s subtle string arrangements bestow this delicate version with a metaphorical hint of what the singer has witnessed over the years, as indeed the title points out, and of the declaration stating that this album forms merely another rung in the ladder of her career. “O qué será” is clearly a song Omara has long wished to record. For this song the Cuban singer has joined forces with another genuine Brazilian music maestro, Chico Buarque, for a version that conveys an interplay between the languages of both singers, and indeed of all the musical traditions of everyone contributing.For this album Omara also resurrects a song she recorded in 1974: “Vuela pena” by Amaury Pérez. As heart-warming as it was when she performed it for the first time, the lyrics seem to take on a new form here: now it’s time to dispel the pain of passing time and the loss of certain dear friends along the way, like Ibrahim Ferrer. “Cuento para un niño”, by Rojas Torrente, which is strategically placed at the midway point on the album, is unquestionably one of its climaxes. After a career spanning so many years, Omara is still moved by a story so close to her heart that she is unable to hold back the tears for some final verses in an emotion that is calm, though implied throughout the tune.
The title track from the album, “Gracias”, which was composed especially with Omara in mind, begins with a clear taste of Brazil, one of the Cuban singer’s favourite music styles and a manifest influence in Uruguayan singer-songwriter Jorge Drexler’s productions. Omara is an admirer of the singer-songwriter’s work and has long wanted to sing one of his tunes. Omara’s ability to transform an apparent farewell message into a call of hope re- emerges in “Lo que me queda por vivir”. However, despite the song’s title – the life I have left – one only needs to listen to the first line of the song: “the life I have left will be spent smiling”, to realise that there is no place for sadness in this tune.
Indeed, the album kicked off with a French feel of chansonnier, and for the ending the album goes in search of a part of the Caribbean island’s musical roots. “Drume negrita” takes a salute to African music in the company of the Cameroonian Richard Bona, whose vocal skills and virtuoso talent once again demonstrate on this album that good music knows no limit in terms of ages, but rather is marked by shared sensitivities.
“When you go to see Livingston Taylor perform on stage, he transforms love, joy and spirituality into something so tangible, that you can carry it home with you when the concert is over.”
The people who heard Steve Lacy’s final solo performance in 2003 at the “Unerhört” Festival in Zurich will not have forgotten the experience. This rollercoaster of emotions. It didn’t just go under the skin; it went straight to the heart. It was so moving to see and hear the love, serenity, trust and sense of adventure that the totally weak Lacy displayed for his music. This is what was so wonderful and magic about that grey, cold November afternoon: we all witnessed what it is like when a master of improvisation gets carried away by the power of music. He became one with the music, drawn to it like a magnet. How beautiful: sadness found joy. Coldness found warmth.
Michael Jaeger keeps looking in the quartet KEROUAC with the pianist Vincent Membrez, the bassist Luca Sisera and the drummer Norbert Pfammatter since 2005 persistently and with more and more success for the labile balance between selffulfillment and control. Between freedom and structure. Between individualism and the collective. Today KEROUAC is on such an advanced level of the collective consciousness, that the four can launch each other almost telepathically into creative spaces. More than that: the collective understanding generates such a pull that even the guests Greg Osby and Philipp Schaufelberger are integrated almost on the spot, almost as if they were members of the band for years.
“A blues hero goes country....the country of the seventies, before the homogenization of the Garth ages, the sound owes as much to Lynyrd Skynyrd as to Merle, Hank, and Waylon.”
Marco Detto was born in Milan in 1962. At first he studied cello, then he totally devoted himself, as a self taught musician, to the study of the pianoforte. He began his professional career in 1982, collaborating as a sideman in many different jazz bands. In 1987 he "gives birth" to his own first jazz group, carrying his name, favouring the trio, and he performs in many jazz clubs, In 1992 he recorded his first work of standard songs“Falling in jazz with love” , with Marco Ricci and Giorgio Di Tullio and with this ensemble the same year he recorded an original piece of work “I sogni di Dick”. In 1994 Marco Detto begins to collaborate with Palle Danielsson and Peter Erskine, with whom he recorded the “La Danza dei ricordi”. In 1998 with Marco Ricci and Stefano Bagnoli, he recorded “Altrove”, a piece of work consisting mainly of very original compositions. In 1999 he recorded with the same group “In The Air”. In 2000 Marco Detto receives an invitation by Eddie Gomez in person to perform three concerts with his band featuring L.White and J.Steig, as a replacement for McCoy Tyner and Chick Corea at the IV . International Festival of classical and jazz music (IV. Festival internazionale di musica classica e jazz) on Elba island. From this very lucky meeting a new Cd took life in 2001 entitled “What a Wonderful World” which was recorded in New York with E.Gomez and L.White and presented in Italy through a concert tour. In 2003 he recorded the Cd “Django”, excellently reviewed by japanese jazz magazine Sunny Side, remained in their charts for 2 months on second position. In 2004 he recorded “Da Lontano” (Massimo Manzi drums, Marco Ricci bass). In 2005 the japanese label Sound Hills reprinted “ What a Wonderful World”. In 2006 he recorded BlueStones (Mauro Beggio drums, Stefano Profeta bass, Kyle Gregory trumpet, Antonello Monni tenor sax, Guido Bombardieri clarinet). "Lasciarsi andare” one song of this album, has won Honorable Mention in the Jazz category in the 2006 International Songwriting Competition (ISC). In 2006 he also published “ Ripples”, a piano solo album. He took part in many different radio broadcasts on Rai Radio Tre. He also took part in one theatrical project of a cultural association “NOEHMA Servi di Scena” directed by professor Teresa Pomodoro in the prisons of Opera and San Vittore, in theatre Strelher and at University La Statale of Milano. In parallel to such activities, that keep him busy as a leader, Marco Detto collaborates with historical guitarist Franco Cerri, with whome is recorded “Ieri e Oggi”, with singer Lorena Fontana, with whom he recorded “Guccini in jazz” and continues a collaboration with the saxophonist Antonello Monni, with whom he recorded “Friends”.
A Patch of Blue Sky, Kevin's newest CD is his first solo record since 2001's Millionaire. The album features 10 new songs, all written or co-written by Kevin. It is an ultimately hopeful journey from darkness to dawn.
Patchwork can refer to a collection of incongruous pieces, parts not necessarily united into a whole. But sometimes, in the hands of great craftsmen and women, those parts merge into a thing of beauty and warmth. Patchwork River weaves together the lyrical mastery of Robert Hunter and the songcraft of Grammy Award-winning artist Jim Lauderdale into something greater than the sum of its considerable parts.
Da Casa Bonsai Music un nome che forse dira' poco al pubblico italiano se non ci fossero dei ma.... Il primo ma è che la Bonsai Music è la stessa etichetta che produce Musica Nuda, ossia il duo Spinetti - Magoni.... Il secondo Ma è che Ferruccio Spinetti è presente in quasi tutti i pezzi del cd.... e il terzo ma, il piu' importante... come lo stesso titolo suggerisce è un cd Frizzante nel senso bello del termine. Come nel vino il fatto di essere frizzante consente anche ai palati meno preparati di poter gustare vini ben strutturati, anche in questo cd il ritmo, la bellissima voce e l'impianto del suono consento anche ai piu' neofiti di poter esplorare l'anima piu' jazz e blues dell'autore. Non lasciatevi dunque ingannare, siamo di fronte ad un cd che merita tutta la vostra attenzione. Parola di Moonlight.
The time has come for Thorbjorn Risager’s fifth CD. Ever since the debut, this great Danish vocalist and his equally outstanding band is delivering new albums with about a year’s interval, full of new compositions. How they find time for this – especially the composing – in spite of their intense touring, is a bit of a mystery. But life on the road is definitely a source of inspiration, which some of the songs, and even the cover photos, are reflecting – even though they don’t do so much of their travelling by train…
Magic Slim is the greatest living proponent of the intense, electrified, Mississippi-to-Chicago blues style that spawned much of the music played by modern blues artists and rockers. It’s no wonder that Magic Slim and the Teardrops, considered by many "the last real Chicago blues band," have become one of the busiest and best-loved blues bands around. As Blues Revue wrote, "Whoever the house band in blues heaven may be, even money says they’re wearing out Magic Slim albums trying to get that Teardrops sound down cold."
Billy Price was the featured vocalist with the Roy Buchanan band for many years, winning over audiences everywhere with his soul-drenched blues tenor. A studio album recently chronicled his encounter with Fred Chapellier, one of the top French guitarists today. Their music has now been captured live on this high-octane energy set. For the same price, you also get to see them in action on the free DVD!
Jobim, João Gilberto, Joyce – Brazil has given us so many brilliant composers, instrumentalists and vocalists. It is with great pride that Stunt Records releases this new recording by the revered Brazilian singer Joyce Moreno (previously known as Joyce), recorded in Rio last year with her own trio.
“The invitation to participate in this project came unexpectedly
After touring extensively for several years with the funk band Blast, Hanne Boel’s career took an explosive jump forward in 1988 with her first soul album. The first of the following fourteen solo releases was hugely successful, and she has topped the Scandinavian charts several times since. Shortly before, in 1987, Boel had a little jazz flirt on SHADOW OF LOVE, an album recorded with pianist Jørgen Emborg, bassist Mads Vinding and drummer Alex Riel. The record was released on a new label called Stunt Records and over the years, while no one was watching, slowly but surely it went gold. 23 years later, Boel and Stunt Records have re-established
Danish saxophonist Hans Ulrik worked for several years on the repertoire for his new Scandinavian quintet featuring Danish trumpeter Kasper Tranberg, Swedish bassist Anders Jormin, and the tw Norwegians guitarist Eivind Aarset and drummer Audun Kleive. When it comes to creative jazz and affiliated styles with a touch of Scandinavia, each of them have been important artists on their own for years. Now they are all together in a Scandinavian super‐group. Back in the old days, they would have been called all‐stars. All compositions are Hans Ulrik originals created especially with the group and each individual musician’s playing style in mind. This jazz music features extended melodic parts with that special Scandinavian flavor, free‐form passages, ragas and ballads. Ulrik draws his inspiration from many different sources: From Burt Bacharach to Carl Nielsen to John Coltrane. This music is free of restraining rules. Imagination is the only limit. Hans Ulrik is among Europe’s busiest and most prominent saxophonists, known for his Scandinavian tone, but also for his great diversity. He is a popular session musician – also in pop and rock – but more than anything else, he is a jazz musician with a long list of collaborators including Cæcilie Norby, Thomas Clausen, Lars Jansson, Gary Peacock, Niels Lan Doky, Marc Johnson, The Danish Radio Big Band and Elaine Elias. Ulrik has several recordings to his name featuring John Scofield, Steve Swallow, Jonas Johansen and Lars Danielsson. Ulrik is also a member of Marilyn Mazur’s Future Song. name as well with many of the foremost musicians of his generation. He has played with Mercer Ellington, Steve Swallow, Charlie Haden, John Tchicai, David Liebman, Ray Anderson, Marilyn Mazur, Chris Potter, Michael Blake, James Moody, Tim Berne, Django Bates and many others. Guitarist Eivind Aarset is an original artist from the creative and experimental Norwegian music scene. His recordings have created quite a stir, and reviews in the international jazz press have been overwhelming. His individualistic approach is hard to box in, and thus Aarset has found a central role in what may be called “NOW jazz”. Eivind Aarset is a regular member of trumpeter Nils Petter Molvær’s group and Marilyn Mazur’s Future Song as well as leading his own bands. He appears on more than 150 recordings with artists as diverse
With his new album To The One (Abstract Logix/Mediastarz), iconic guitarist and composer and 2010 Grammy Winner John McLaughlin looks backwards and forwards simultaneously. The six original songs are hauntingly evocative – with roiling rhythmic swells, modal expanses, and telepathic group interaction echoing the profound influence of John Cotrane’s 1965 spiritual jazz masterpiece A Love Supreme. Mostly written in July and August of 2009, the music composing To The One was set down in the studio in November and December, with very few overdubs, by McLaughlin’s current performing outfit, the Fourth Dimension: Gary Husband (keyboards, drums), Etienne M’Bappe (electric bass), and Mark Mondesir (drums). Compositional devices clearly inspired by Coltrane are fused with elements of McLaughlin’s own multi-faceted approach, all delivered with a group empathy and shared vision that harkens back to Coltrane’s fearless mid-‘60s quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison. The effect of Jones’ kaleidoscopic approach to rhythm and drumming is especially felt, brilliantly recast and explored via McLaughlin’s gift for complex metrical structures. 
Johnny Moeller’s guitar playing is full of voodoo and lighting. The floating bent notes, delicately singing phrases, bursts of staccato picking, and ringing piano-like chords that he sculpts into vibrant solos bring all the beauty, power, and mystery of the blues to life. Yet he’s impossible to pigeonhole. Although Moeller’s the latest in a long line of six-string wizards to hail from Austin, he upholds the Texas music tradition not by imitating the licks of legendary Lone Star State players who’ve influenced him — like Albert Collins, Lightnin’ Hopkins, the Vaughan Brothers — but by being a maverick. “The truth of the matter is I’ve never really tried to emulate anybody else,” explains Moeller, who’s wrapping up a daring new solo album. “There are lots of great guitar players who inspired me, and singers and saxophone players, too. But I don’t like to limit myself to purely one style of music. I have my own thing, which is blues based, and then I like to mix in everything else I love: soul, jazz, funk and rock ‘n’ roll.” That amalgamation comes naturally to the Fort Worth native who grew up on his father’s blues and soul record collection, the classic rock he heard on radio and the albums by everybody from elegant jazz guitarist Grant Green to down ‘n’ dirty boogie architect John Lee Hooker that he bought in high school with his paychecks from the local Piggly Wiggly. But the blues is always Moeller’s compass. It’s been that way since he stumbled on an old Lightnin’ Hopkins album while he flipped through the bins at Record Town. “When I got that album home, the minute I played it I knew that was what I wanted to do,” he recounts. “It was so raw and wild and original that it totally blew my mind.” Since then Moeller’s developed into one of the genre’s most stunning and soulful six-string stylists with an uncanny ability to support heavy hitters. Although his most visible gig is backing Kim Wilson in the Fabulous Thunderbirds, Moeller’s also the Severn Records house guitarist. In that role, he’s lent artful licks to albums by stellar vocalists Darrell Nulisch and Lou Pride, harmonica ace Steve Guyger and others. He’s also been a long-time member of fellow Texan Nulisch’s band and has toured with the Severn Soul Revue backing singers Nulisch, Pride, and Tad Robinson. Moeller says the essential elements of his style — a blend of cool relaxed phrasing and greasy grooves balanced by razor-wire runs and howling tones — have been in place since the days when he landed his first professional gig backing Denton, Texas bluesman Pop Carter with a group that included his brother Jay, who is also in the Thunderbirds, and their lifelong pal Paul Size, another Austin-based guitar legend in the making. “My brother and I were visiting my father in Austin one summer and we went to Antone’s to see Little Charlie and the Nightcats, who we love. My brother told Clifford I played guitar, and before I knew it he was telling the band, ‘Hey, let’s get this kid up there.’ It was surreal, but Clifford was big-hearted. He helped so many musicians in Austin, from giving them gigs to flat-out paying their rent.” Moeller says his upcoming album represents an important step in his evolution. “It’s really an outgrowth of my learning how to be a better frontman,” he explains. “I’m blossoming as a singer, songwriter, and leader. Part of that’s just what I feel I need to do as an artist, and part of that’s inspired by working with the bandleaders I’ve worked with — especially Kim, who really knows how to run a show on stage.” The new Johnny Moeller Band album he’s been recording in bursts for the past four years is more fine-tuned than his previous two releases, 1996’s The Return of the Funky Worm and 2001’s Johnny Blues Aggregation. Those discs were off-the-cuff affairs, built around in-studio jams and produced by the Dallas Blues Society. “This album’s come together at a slower pace because I’ve really been concentrating on the songwriting and arranging, and not just rushing into the studio when I’m off the road,” says Moeller. “I also sing lead on four numbers, which is a whole ’nother world for me, but one I’m becoming more and more comfortable with. The CD’s got boogaloos and dirty blues, and half is originals including some funky instrumentals. The vibe of some of the songs is ‘James Brown meets Frankie Lee Sims’.”Funky Worm and Aggregation alums Jay Moeller and Paul Size appear, plus their fellow Texas bluesman Sean Pittman and the legendary Austin blues siren Lou Ann Barton. Miss Lou Ann’s lush voice pilots a version of Earl King’s “Everybody’s Got to Cry Sometime.” Moeller also leads a swampy boogaloo stomp through King’s classic “Trick Bag.” “On this album and in my live sets these days it feels like I’m really finding myself,” Moeller says. “So even I’m curious about what I’m going to do next.”
The three albums were released between 1981 and 1990 and were a Funk project for bassist Stanley Clarke and keyboard player George Duke ‘Sweet Baby’ from the first album was a US Top 20 single hit The first two albums made the US Top 100 charts Digitally remastered, slipcased and with new notes 
Ex-Graham Bond and Brian Auger guitarist McLaughlin’s career took off when he went to the States in 1969 to join Tony Williams’ Lifetime (this writer had the experience of seeing them in London’s Speakeasy club in 1970)
Fusion drummer Billy Cobham’s pedigree goes from Miles Davis through many jazz artists Dreams was formed with the Brecker brothers (Michael and Randy) and John Abercrombie, and these, their only two albums, date from the very early 1970s Critically acclaimed, the band and these recordings did not gain the commercial success they deserved 
On February 10th, 2010 poet Philippe Jaccottet received the important èprize "Gran Premio Schiller" and has been mentioned as one of the most important poets in french of the 21st century. In this circumstance, Silta Records is pleased to produce this fine and delicate work of Anna Garano: a tribute in music to great writers like Verlaine, Baudelaire and Jaccottet, who personally expressed to the artist his appreciation for this work.
Crooked Still's 4th album is an elegant package of superbly crafted musical styles taking country/folk as the deep foundation and veering off into exhilarating and exciting directions. It's amazing music and it can hardly be called "bluegrass" or be locked into one genre. Where Ray Charles gave us Modern Sounds in Country and Western Music back in 1962, Crooked Still bring those expressions into the new millennium. Recorded during a long blizzard in rural Virginia, Some Strange Country expands on the band's unique blend of Appalachian-based string band styles combining with chamber music strings and pop sensibility, all supporting Aoife O'Donovan's sultry and sometimes spooky vocals. The album was produced by Gary Paczosa (Alison Krauss, Nickel Creek) and features guest contributions of bluegrass legends Ricky Skaggs and Tim O'Brien and vocals from rising star Sarah Jarosz.
This young group of stellar Brooklyn-based musicians performs an incredible array of traditional old-time & honky tonk rock music reminiscent of the 1940's & 50's. Complete with hot licks and sweet girl-on-girl harmonies, they're sure to warm the heart of all you modern day cowboys and girls. The Sweetback Sisters line-up features the lavish voices of Zara Bode and Emily Miller with an all-star cast of instrumentalists including: West Virginian triple threat Jesse Milnes; Stefan "da guns" Amidon on drums; Philly's stringed slayer Ross Bellenoit on rippin' Telecaster, and Bridget Kearny on bass. With sold out concerts across the North East, a special guest appearance on A Prairie Home Companion and now the excellent debut album Chicken Ain't Chicken, these kids are off to an exciting start!
In the summer of 2008 multiple Grammy award winning jazz artist Wynton Marsalis and his quintet teamed-up with French accordionist Richard Galliano at the annual Jazz in Marciac festival in Southern France to pay tribute to the late jazz legends Billie Holiday and Edith Piaf.
This album is in many ways a return and revisiting of songs that first engaged me. I have always found the tradition of English lyrical and pastoral ballads an area of sweet melancholy most moving, and although I have known most of these songs over many years, have never recorded, or even sung them before. They are familiar to me from folksong-club floor-singers, residents and from fellow travelling performers. Also, I took myself off to Cecil Sharp House (the home of the English Folk Song and Dance Society) where the Vaughn-Williams Memorial Library is based, and the helpful librarians led me to much source material. I found there, among its massive archive, Chappell’s ‘Popular Music of the Olden Time’ which revealed to me the source of some songs that were current in my childhood. These are written songs of the 17th century that were in the National Song Book, and the like, intended for schools, to be accompanied by piano. Benji, Giles and I then spent time finding suitable settings for the songs, which all came together speedily and naturally. This working on songs is always a good time for me. How songs reveal themselves to different musicians is surprising and delightful. We have tried here to present these jewels in the simplest, acoustic formats, leaving the songs to reveal their power quietly.
Ashley Hutchings and Ken Nicol’s first time collaboration. Copper, Russet and Gold. Comprised of all original compositions that delve into the pairings’ rich musical history. The expected folk feel is certainly there, but also mixed with splashes of jazz, blues and rock. Lyrically too the record is a varied experience with tales of Old England, the misery of supporting a doomed football team, Sir Francis Drake, GIs in World War II Britain and the beauty of Paris. Nicol and Hutchings have made a record that glows with warmth, genuine character and charm.
'Many years ago, after a hard day in the pram, there was nothing I liked better than to relax and listen to a good record; but so often I found there was nothing that I really liked.
If life is determined by a series of happy accidents, then somebody upstairs was beaming long and hard the day the Carnival Band happened across Maddy Prior. Beginning as a one-off experiment for a Radio 2 Christmas Special, their collaboration has become a long term concern lasting over twenty years and counting. Despite forays into other musical styles and influences, it has been their unique approach to Christmas music that has proved the enduring theme of their work together. Their semi-regular Yuletide live show has become the highlight of many a seasonal period, featuring festive favourites played on medieval and modern instruments. 2007 however will see the pairing embark in a new direction. Ringing The Changes is an apt title for an album that sees them eschew their usual approach of adapting music from earlier centuries in favour of all self penned material. Though still a Christmas record in the tradition of Carols And Capers and A Tapestry Of Carols, this is an album that takes a look at all aspects of what the season means today. Thus there is the Jamaican gospel of 'Wake Up!' and the beautiful introspection of 'Bright Evening Star', both dealing with the traditional story of the virgin birth. 'Stuff!' (featuring a guest turn from Monty Python's Terry Jones) looks at the thoroughly modern custom of retail frenzy and panic buying. Elsewhere there is more rumination on the nature of the season and a rich musical landscape that includes medieval and folk music, as well as a Latin text set to a Cuban rhythm. The result is a collection of contemporary reflections on the festive season with fresh musical ideas to match. Christmas is always changing - you could argue whether for better or for worse - but these songs show that amid the frantic materialism, the fragility of family life and the questioning of beliefs there is still room for quiet contemplation, generosity, awe and wonder, a pint and a carol or two.
This seems a particularly fitting release since the globally acclaimed Northumbrian musician was awarded the prestigious Queen’s Medal for Music in 2009. Following on from this award, Kathryn had a very special celebration at the Sage Gateshead in December with special guest Sting amongst others.
From the very moment that Steeleye Span first married electric instruments and traditional music, Maddy Prior has always been an innovator. Throughout her career, both with the band and in her solo career. 2006, however, saw her undertake he most challenging project yet – The Quest. Inspired by the legend of the Holy Grail, it was to be a tour of the UK that visited some of the most historic and dramatic location in the country, many of which were tied into the myths that surround the holy vessel. Maddy Prior has always been fascinated by the stories and legends of these isles and has written or adapted most (if not all) of the great folk tales over the years. Of late, however, she has begun to explore perhaps the most enduring myth of all – that of King Arthur and the Holy Grail. The question whether the Grail made a journey through Britain, whether Joseph of Arimathea did visit here as a trader, even if he brought a young Jesus with him, has enthralled both artists and historians down the ages. The Quest is another in a long line of creative endeavours designed to engage with the story. Accompanied by her long-term musical colleagues Nick Holland and Troy Donnockley, the tour saw Maddy revisit her solo catalogue for the first time in some years. The Quest CD/DVD includes material from ‘Flesh & Blood’, ‘Year’ and ‘Ravenchild’ releases, the trio of albums that she released to critical acclaim during the nineties. However the centrepiece of the live set comes in the form of the song cycle from ‘Arthur The King’, which deals with one of the key figures at the centre of the myth of the Grail. Yet there was more to The Quest than just the music. This was to be the first interactive music tour, whereby internet watchers the world over would be able to follow the progress of Maddy, musicians and crew online as they were followed every step of the way by a film crew. Each day new footage, both on and off stage, was posted on the Quest website to provide a unique insight into the touring process. The best of these is available with a special bonus DVD that accompanies the album, featuring many of the most memorable performances from the tour alongside some fascinating and often hilarious behind the scenes footage. The Quest may have come to its conclusion, but this is a document that will ensure that the special atmosphere that created will never be forgotten.