Jon Batiste celebrates the late Roy Hargrove with a cool funky vibe on 'Chronology Of A Dream' / O's Place


Pianist and composer Jon Batiste is a young, energetic powerhouse full of the Crescent City party spirit. They start with an all out jam on "Blacck" that continues through "PWWR" fully engaging the audience in the celebration. We caught a taste of ragtime on "Kenner", Jon's bow to his hometown (a New Orleans suburb).  Batiste celebrates the late Roy Hargrove with the cool funky vibe of "Soulful". He performed this tune with Hargrove during his first appearance at New York‘s Village Vanguard a decade ago. It's very timely to record this set at the same venue starting on the day we lost Roy (Nov-2-2018). Chronology Of A Dream is a fitting dedication to Hargrove. O's Notes on O's Place
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Wolfgang Muthspiel - Angular Blues podcast


Wolfgang Muthspiel, whom The New Yorker has called "a shining light" among today's jazz guitarists, returns to the trio format with Angular Blues, his fourth ECM album as a leader, following two acclaimed quintet releases and his trio debut. Like Driftwood – the 2014 trio disc that JazzTimes dubbed "cinematic" and "haunting" – Angular Blues finds the Austrian guitarist paired with long-time collaborator Brian Blade on drums; but instead of Larry Grenadier on bass, this time it's Scott Colley, whose especially earthy sound helps imbue this trio with its own dynamic. Muthspiel plays acoustic guitar on three of the album's tracks and electric on six more. Along with his characteristically melodic originals – including such highlights as the bucolic "Hüttengriffe" and pensive "Camino" – he essays the first standards of his ECM tenure ("Everything I Love" and "I'll Remember April"), as well as his first-ever bebop rhythm-changes tune on record ("Ride"). Angular Blues also features a single guitar-only track, "Solo Kanon in 5/4," with Muthspiel's electronic delay imbuing the baroque-like rounds with a hypnotic glow. Listen to the podcast Muthspiel, Colley and Blade recorded Angular Blues in Tokyo's Studio Dede after a three-night run at the city's Cotton Club. The album was mixed with Manfred Eicher in the South of France at Studios La Buissonne, where Muthspiel had recorded his two previous ECM albums, Rising Grace and Where the River Goes (both of which featured pianist Brad Mehldau and trumpeter Ambrose Akinmusire). Each of the groups that Muthspiel has put together for his ECM recordings has had a special rapport. About his new trio, the guitarist says: "Scott and Brian share my love of song, while at the same time there is constant musical conversation about these songs." The Louisiana-born Blade has been a member of the Wayne Shorter Quartet since 2000, along with recording with artists from Bob Dylan, Joni Mitchell, Daniel Lanois and Norah Jones to Charlie Haden, Herbie Hancock, Chick Corea and Joshua Redman. Since the mid-'90s, Blade has also co-led the gospel-infused Fellowship Band. Regarding the subtly virtuoso drummer, Muthspiel says: "Brian is famous for his sound and touch, that floating way of playing, how he creates intensity with relatively low volume. It's also a great pleasure for me to witness how sensitively Brian reacts in his playing to whether I play acoustic or electric guitar. I've done a lot of concerts and productions with him over the years, including in our guitar-drums duo, Friendly Travelers, as well as on Driftwood and Rising Grace. He always offers complete interaction and initiative, as well as his individual sound. To play uptempo swing on something like ‘Ride' with Brian was really luxurious, a gift." After being mentored by Charlie Haden, Colley was the bassist of choice for such jazz legends as Jim Hall, Andrew Hill, Michael Brecker, Carmen McRae and Bobby Hutcherson, along with appearing on albums by Herbie Hancock, Gary Burton, Pat Metheny, John Scofield, Chris Potter and Julian Lage. Colley, a native of Los Angeles, has released eight albums as a leader. "Scott and Brian have also played a lot together over the past few years, so they know each other well," Muthspiel notes. "I performed with Scott in New York in the '90s, and I've always felt that he was an extremely giving musician, who – with his warm tone and his flexible, dancing rhythm – simultaneously animated and supported the music. I wrote the bass melody of the new album's first tune, ‘Wondering,' especially for him. His sound develops a flow and harmonic movement that is inviting to play on." After "Wondering" – which includes extended soloing by Colley that embroiders on Muthspiel's melody beautifully – comes the album's title song, the highly trio-interactive "Angular Blues," so titled for its "rhythmic modulations and strange breaks," the guitarist explains. "Somehow Chick Corea's album Three Quartets was an association, but so was Thelonious Monk." Those first two tracks, as well as the album's third, "Hüttengriffe," feature Muthspiel on acoustic guitar, his sound on the instrument both warm and extraordinarily fluent. After that – on "Camino," "Ride," "Everything I Love," "Kanon in 6/8," "Solo Kanon in 5/4" and "I'll Remember April" – he plays electric. Muthspiel's ever-liquid electric phrasing buoys both an emotionally rich original such as "Camino" and the two different turns on his kaleidoscopic "Kanon," the trio version in 6/8 and the solo, mostly improvised rendition in 5/4. About his first-time inclusion of jazz standards on one of his ECM albums, Muthspiel says: "I was inspired to record standards with this trio because everything about the way the group plays feels so free, open and far from preconceived ideas, but at the crucial moment a jazz language is spoken, what we do does justice to these tunes. I learned ‘Everything I Love,' the Cole Porter song, from an early Keith Jarrett album, and I first came to know ‘I'll Remember April' from a Frank Sinatra recording. In that latter song, I hardly play solo. It's more about the head and the vamp-like atmosphere that prevails from the start and is savored again in the end. As in many moments with this trio, it's about playing with space: leaving it, creating it, filling it." Produced by Max Horowitz - Crossover Media, This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
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Deutsche Grammophon's 'World Piano Day' livestream was watched by over 4 million / udiscovermusic.


Deutsche Grammophon marked World Piano Day on Saturday 28 March with a global livestream virtual festival featuring ten of their legendary pianists. Over 4 million people in over 100 countries have so far enjoyed the virtual festival, featuring three and a half hours of piano music, via YouTube, Facebook and Medici.tv. The emotionally charged programme was performed by Maria João Pires, Víkingur Ólafsson, Joep Beving, Rudolf Buchbinder, Seong-Jin Cho, Jan Lisiecki, Kit Armstrong, Simon Ghraichy, Daniil Trifonov and Evgeny Kissin. The pianists pre-recorded intimate live performances on smartphone video, from the safety of their current locations, which were then streamed online to create a unique global virtual festival. Those who missed Saturday's World Piano Day livestream can watch the full concert on the attached video. READ THE FULL udiscovermusic. ARTICLE & WATCH THE VIDEO
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Daniil Trifonov shares his thoughts on Rachmaninoff with 90.9WETA - Wash DC


Like Rachmaninoff, Danill Trifonov was born in Russia, and is already considered one of the world's great pianists at age 29. He is also a composer, and made his way to the United States where he settled in New York. Despite all these parallels, Trifonov didn't start studying and performing Rachmaninoff's music until he was 21, but he has made up for lost time by releasing three albums devoted to the composer: an album of Rachmaninoff's three sets of variations in 2015; "Departure", featuring concertos 2 & 4, in 2018; and "Arrival", featuring Concertos 1 & 3, in October 2019. All three were done in collaboration with The Philadelphia Orchestra conducted by Yannick Nézet-Séguin. It was in January 2019, just a few months after the release of Departure, that WETA evening host James Jacobs spoke to Daniil Trifonov backstage at the Kennedy Center during a week in which he was appearing with the NSO. In a wide-ranging conversation Trifonov shares his thoughts on Rachmaninoff and reflects on his own career. LISTEN TO THE WETA: Wash DC INTERVIEW
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Shabaka Hutchings tenderness is more evident than ever on 'We Are Sent Here By History' marlbank


In its folkloric grandeur and ambitions that make it leap far beyond a more restricted sense of abum there is a collision of poetry, music and however implicit dance. Folkloric in one sense, a rewriting of priorities in terms of society and attitudes to gender and more in another there is a mystical sense of revelation drawn from Xhosa traditions, Rastafarianism and more in the lyrics and inspirations and above all a sense of otherworldliness. In all the above this actually contributes to a larger more convincing world view than you get in the more basic bounce and euphoric beat of Shabaka's other bands Sons of Kemet and The Comet Is Coming. By the way Shabaka plays just as beautifully as ever and there are waves of solos breaking through that indicate once again what a world class saxophonist he is and how his stature grows with every record. His tenderness is more evident here than ever. The beautiful 'Go My Heart, Go To Heaven' is one exemplary track on a griot themed album conception and "meditation on the fact of our coming extinction as a species.'' How clarivoyant is that in the current climate at a time of global existential crisis? READ THE FULL marlbank REVIEW
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'Fodder On My Wings' is an essential Nina Simone album that is making a long-overdue reappearance / glideMagazine


Nina Simone's Fodder On My Wings was initially recorded not long after she moved to Paris in 1982. Simone always loved the album, but it remained rather obscure as it was recorded for a small French label and was often in and out of print. It is now being reissued in CD and LP formats with three bonus tracks from a French reissue in 1988. You may have already heard audio or videos for the jubilant "I Sing Just to Know I'm Alive" or "Liberian Calypso." This is not the rebellious Nina of "Mississippi Goddam" or even the jazzy "My Baby Just Cares For Me." Yet, her signature powerful crescendos ("Thandewye") and shimmering piano flourishes ("Le Peuple En Suisse") are all over the album which is anything but even. These are deeply personal songs, including the aforementioned, "I Sing Just To Know That I'm Alive" and "I Was Just A Stupid Dog To Them," as well a searing lyrical improvisation about the death of her father on "Alone Again (Naturally)."  At the time she recorded the album, Simone was living in France and was extremely lonely; her mental illness was increasing, and her family life was fractured. It's this despair that spawned one of the many album standouts, the near title track "Fodder In Her Wings. "A top music outlet wrote that, the composition "captured with startling intimacy the pain of this period, and she returned to it frequently through the next decade, cutting another studio version three years later (the synth-heavy take on Nina's Back!) and including it on several live albums, including an awe-inspiring performance on 1987's Let It Be Me, continuing, "Simone's vocal makes a song of weariness and defeat carry an air of defiance, a wise word from someone who survived to tell the tale." Recorded at a time when Simone was feeling rejuvenated by her surroundings and by the African musicians she met in her newly adopted France, Fodder On My Wings is an essential Simone album that is making a long-overdue reappearance. READ THE FULL glideMagazine REVIEW
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npr's conversation between the keys with Vikingur Olafsson


When Víkingur Ólafsson was about 5 years old, he already knew what he wanted to be. "It sounds crazy, but I always saw myself as a concert pianist," he says. "Even if I wasn't a good pianist." The Icelandic musician, who turned 36 last month, has become a very good pianist indeed. Whether playing baroque or contemporary music, Ólafsson's technique is formidable, but it's transparency combined with warmth that has defined his singular sound. He is sought after by the world's top orchestras and concert venues and has signed on with the swanky Deutsche Grammophon record label. After well-received albums of Philip Glass and J.S. Bach, his latest album, Debussy – Rameau, was released March 27. The recording unfolds almost like a classical mixtape, with Ólafsson juxtaposing tracks by two French composers, born almost two centuries apart, who both broke new ground in music. The pianist says he tried to create a conversation between Jean-Philippe Rameau, the baroque master who literally wrote the book on French harmony, and Claude Debussy, who, straddling the 19th and 20th centuries, absorbed those theories and then, as Ólafsson says, "threw them out the window." Over the phone from his home in Reykjavík, the young pianist spoke with NPR about the effects of the coronavirus pandemic on his relationship to music, the idea of Debussy as a "bank robber" and why he has been dubbed "Iceland's Glenn Gould." This interview has been edited for length and clarity.        

READ THE Q&A
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The discreet charm of Karsh Kale / hindustan times


To one generation, Karsh Kale needs no introduction- he is one of the pioneers who defined the Asian Underground musical scene of the early '90s. To another generation, he is the guy who scored the famous Train song for Gully Boy (2019). Point this out, and he laughs. Because Kale has always been fiercely protective of his independent artiste tag, and it is ironic that he is known to GenZ for a film song. ""I have experienced situations where I knew it was my skin tone that didn't land me the gig!"  "I am 45 and I have been doing this for too long to be swayed by adulation," he says. "The joy of making music is what you have written and not what happens after the track is released. It is not because you have got so many likes on YouTube, but because you believed in that piece of work before anyone else even heard it. Everything else – numbers and views – is just an illusion." Kale is also evolving. "I don't want the same things I did when I was 18, and I don't want to die doing the same thing. I have written a few scripts and I want to direct a film. But at the right time!" READ THE FULL hindustan times ARTICLE
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Celebrate World Piano Day / BBC Music Magazine


"Why does the world need a Piano Day? For many reasons. But mostly, because it doesn't hurt to celebrate the piano and everything around it: performers, composers, piano builders, tuners, movers and most important, the listener." – Nils Frahm Piano Day, a annual worldwide event founded by a group of likeminded people, takes place on the 88th day of the year – in 2020 it's the 28th March – because of the number of keys on the instrument being celebrated. The aim of the day is to create a platform for piano related projects in order to promote the development of musical dimensions and to continue sharing the centuries-old joy of playing piano. Piano Day welcomes all kinds of piano lovers - young and old, amateur and professional, of any musical direction – to join in this years festivities. It is intended to be the most joyful of all holidays! Celebrate World Piano Day with livestreamed concerts and recitals from across the world.
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Shabaka & The Ancestors narrate the apocalypse from a distant future / Pitchfork


The British-Barbadian jazz saxophonist and his South African players narrate the apocalypse from a distant future, suggesting that in order to build anew, some things will first need to burn. In West Africa, histories have been passed down through generations by griots, storytellers who collect the wisdom of the past in order to help shape our fates. Even after the advent of the written word, such storytellers were the safest manner of recording knowledge-scrolls could be lost, and libraries could burn, but oral histories were shared by the collective consciousness, written in our genes, able to survive individual tragedies to persist through time. In that sense, griots are more than just historians-they're the library. We Are Sent Here by History, the second album from Shabaka Hutchings and the Ancestors, is a record steeped in that tradition, a living history looking backward in time from a not-too-distant future. Coincidentally released amid the proliferation of a global pandemic, it takes on new meanings: a collective record of the apocalypse, a sonic time capsule left to be found buried in the sand by some future explorer. The group's first LP, Wisdom of the Elders, served as a warning of things to come, but this tale reads as a statement of fact, a record of the wrongs and missteps that led to our own demise. READ THE FULL Pitchfork REVIEW
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Michael Fine - Five For Five deserves to be listened to / froggy's delight


Five for Five, or five quintets with five different solo instruments: bassoon, English horn, clarinet, oboe and transverse flute accompanied by and dialoguing with a string quartet was written by Michael Fine. Before being a composer, Michael Fine was a clarinetist, label director, artistic orchestra manager, conductor and a popular producer. We find there what makes the quintessence of the music of the American composer where each work has almost its universe as descendant of an aesthetic line specific to the instrument. For the one for bassoon, we will think of the music written for this instrument by Devienne (for the relationship between the soloist and the strings), Jean Françaix or Roger Boutry. The one for clarinet between lyricism and swing recalls Copland. There is almost a kind of neo-classicism in that for oboe but sometimes with a touch of jazz. The one for flute and the Elegy for English horn have an almost impressionist side. The work and the writing of Michael Fine will not transcend the music of our time but this disc, by being interested in rather original formations deserves to be listened to. READ THE FULL froggy's delight ARTICLE
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Zajal with Dave Soldier and Pedro Cortes - the spanish tradition 'Is' our culture


Lyrics in medieval Hebrew, Arabic and Spanish from Andalusia, 900-1400 C.E. The Golden Age of Spain that created the tradition of Western song, from Schubert and Verdi to Hank Williams and the Beatles    Zajal, renowned Downtown composer and instrumentalist Dave Soldier explores the beginning of popular song and locates it 1000 years ago at the intersection of Muslim, Jewish, and Christian cultures in southern Spain. Zajal, along with muwashaha, were the lyrics of medieval Andalusia. While many are still sung today (notably in Lebanon), their offspring are everywhere. On a trip to Spain in 2004, Soldier read about the Andalusian caliphate, when the Muslim, Christian and Jewish com- munities not only coexisted, but co-created much of the world we inhabit today. Together, they produced the novel, cowboy culture, the guitar, the dance suite, the Kabbalah, Maimonides and ibn Arabi and the discovery of the New World. And modern song: the zajal and muwashaha introduced the verse and chorus that are the backbone of popular music. Imitation of Andalusia's singing oud players begat the troubadours and the figure of the wandering poet and singer in its myriad incarnations, from Villon to Joni Mitchell.   Zajal With Dave Soldier And Pedro Cortes - The Spanish Tradition Is Our Culture    CLICK HERE TO LISTEN TO THE PODCAST   Zajal features Maurice Chedid, a celebrated singer and oudist from Lebanon who drives a livery cab in New York; Triana Bautista and Ismael Fernandez, scions of famous Gypsy flamenco families; flamenco and Latin music singers David Castellano and Barbara Martinez; and Israeli-Moroccan-Persian vocalist Ana Nimouz. Players include composer Dave Soldier on guitar and keyboards: classical and klezmer violinist Rebecca Cherry; Alan Kushan, the foremost virtuoso of the Iranian sentur: trombonist Chris Washburne (Eddie Palmieri and Willie Colon): klezmer trombonist Dan Blacksberg: jazz bassist Ratzo Harris (Mose Allison, Betty Carter): timbalero Robby Ameen (Eddie Palmieri, Dizzy Gillespie): Greek clarinetest Lefteris Bournias: flamenco dancer and percussionist Jose Moreno: and palmas (handclaps) by the dancers Nelida (Neli) Tirado and Sonia Olla (Madonna and Ricky Martin). Dave learned flamenco guitar from Pedro Cortes, the foremost American exponent of Gypsy flamenco, who produced the record.   The lyrics are by the major Arabic and Hebrew poets of medieval Spain, plus one by their Persian contemporary Rumi in Farsi; a lyric by Dave Soldier in English that uses the sevillianas, a flamenco form; and a modern muwashaha from the great Lebanese singer Fairouz. The music uses contemporary Andalusian forms (buleria, fandango, petenera, rumba, tango) as translated through Soldier's vision of the contemporary cultures of New York City.   Musicians: Dave Soldier, guitar, keyboards, musical compositions (except #2), arrangements; Ana Nimouz, Triana Bautista, David Castellano, Barbara Martinez, Ismael Fernandez, Anais Tekarian vocals; Maurice Chedid, oud, vocals; Chris Washburne, Dan Blacksberg, trombones;   Philip Payton, Rebecca Cherry (solos), violins; Alan Kushan, sentur; Lefteris Bournias, clarinet; Mahmoud Hamadani, recitation; Ratzo Harris, bass; Jose Moreno, hand percussion, trap set, vocals; Robby Ameen, timbales; Ismael Fernandez and Sonia Olla, palmas and jaleo; Neli Tirado, palmasn.   Produced by Max Horowitz - Crossover Media, This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
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Top 10 Albums for April

Nina Simone :

Fodder On My Wings

Recorded in 1982, not long after she moved to Paris, Fodder On My Wings was one of Nina Simone's favorite albums yet has remained one of her most obscure. Originally recorded for a small French label and only sporadically available since its initial release, Fodder On My Wings will be reissued in a variety of formats including CD and LP, as well as widely available digitally for the first time, in both standard and hi-res audio via Verve/UMe. The original album will be expanded with three bonus tracks from the recording sessions from a rare French reissue released in 1988. 
Shabaka & The Ancestors :

We Are Sent Here By History

On March 13, Shabaka & The Ancestors will make their Impulse! debut with the band's sophomore album We Are Sent Here By History. Their breakout 2016 album, Wisdom of Elders, established Shabaka & The Ancestors as a sudden force in spiritual jazz. But where that record warned of impending societal collapse, this one unfolds within it. Shabaka refers to the album as a "meditation on the fact of our coming extinction as a species. It is a reflection from the ruins, from the burning." On the lead single "Go My Heart, Go To Heaven," Siyabonga pays homage to his father's favorite church song. The word "hamba" (or "go") is repeated, and within the context of this track, it's "about the point where one gives in and wants out of this world," Siyabonga says. "But in times of darkness is a call to the light and the heart."
Anoushka Shankar :

Love Letters - EP

‘Love Letters' marks a different direction for the internationally celebrated artist; it offers a shift in intimacy and content and comes at a pivotal time in her career as she signs to her new record label, Mercury KX. Hailed by the Guardian as a "virtuoso sitar player", Anoushka truly pushes the boundaries of how the instrument is heard and perceived and "uses it as a vehicle for creativity" (Times). Love Letters documents a time of profound flux for Anoushka: health issues, heartbreak, domestic upheaval – "These were difficult times, which pushed me into some very vulnerable places. I've written from a personal place before, of course, but there was something particularly tender about the process this time, and it was a creative challenge to be brave enough to allow the music to remain as raw as it began" she says.
Avishai Cohen :

Big Vicious

Charismatic trumpeter Avishai Cohen launched his homegrown band Big Vicious six years ago, after relocating from the US to his native Israel, rounding up friends to shape the music from the ground up. Guitarist Uzi Ramirez, bassist Jonathan Albalak and drummer Aviv Cohen write much of the material together with Avishai. Ziv Ravitz, from Avishai's acoustic quartet, was recruited as second drummer a year ago. "We're all coming from jazz, but some of us left it earlier", Avishai says, summing up the stylistic reach of his cohorts. "Everyone's bringing in their backgrounds, and that becomes part of the sound of the band." Textures from electronica, ambient music and psychedelia are part of the blend, so too grooves and beats from rock, pop, trip-hop and more. A wide-open approach to cover versions - from Massive Attack to Beethoven - is also integral to the Vicious vision. Recorded in Studios La Buissonne in the South of France in August 2019 and produced by Manfred Eicher, Big Vicious's debut album is issued as the band gears up for extensive international touring.
Sally Potter :

The Roads Not Taken OMPS

Milan Records announces the March 13 release of THE ROADS NOT TAKEN (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by the film's critically-acclaimed, award-winning director SALLY POTTER.  Available for preorder now, the album includes music written by Potter for her new film and features long-term collaborator and guitarist Fred Frith, violinist Viktoria Mullova, cellist Matthew Barley, percussionist Paul Clarvis and bassist Misha Mullov-Abado.  Alongside today's preorder is the lead offering from the soundtrack – listen to "Thinking" now.  Making its debut at the Berlin International Film Festival and starring Javier Bardem and Elle Fanning, The Roads Not Taken will make its theatrical debut Friday, March 13 via Bleecker Street.
David Foster :

Eleven Words

Sixteen-time GRAMMY® award-winning composer and legendary producer, David Foster, sets to release a collection of personal and heartfelt piano solos, ELEVEN WORDS (April 17 via Decca Records US).  A return to his truest form, the album showcases the artist at his musical core and the first track from the intimate set is, "Love." You can listen to the first song and pre-order the album here.  ELEVEN WORDS is a return to the basics for the prolific songwriter and music producer.   A departure from writing and producing huge, chart-topping hits for megastars, Foster steps back to his roots, seated at the grand piano and delivers emotional and meaningful piano melodies. "What I truly wanted to do with this album, is strip away the lyrics and all the production that I'm known for, leaving just the melodies" says Foster. "I called it Eleven Words because I wanted to identify words that were meaningful to me and hopefully meaningful to the world - simple yet complex."
Dan Romer & Benh Zeitlin :

Wendy ( OMPS )

Milan Records today announces the February 28 release of WENDY (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by award-winning composer, songwriter and producer DAN ROMER and the film's award-winning director BENH ZEITLIN.  Available for preorder now, the album features music co-written by the duo for Zeitlin's vivid reimagining of Peter Pan, which made its world premiere at Sundance Film Festival and debuts in theaters on February 28 from Searchlight Pictures.  The album is the latest in a series of scoring collaborations for the duo that includes both Zeitlin's own critically-acclaimed, breakout film Beasts of the Southern Wild as well as additional titles Brimstone & Glory and Mediterranea.  
Wolfgang Muthspiel :

Angular Blues

Wolfgang Muthspiel, whom The New Yorker has called "a shining light" among today's jazz guitarists, returns to the trio format with Angular Blues, the Austrian's fourth ECM album as a leader, following two acclaimed quintet releases and his trio debut. Like Driftwood - the 2014 trio disc that JazzTimes dubbed "cinematic" and "haunting" - Angular Blues finds Muthspiel paired with longtime collaborator Brian Blade on drums; but instead of Larry Grenadier on bass, it's Scott Colley, whose especially earthy sound helps give this trio its own dynamic. Muthspiel alternates between acoustic and electric guitar and, along with his characteristically melodic originals - including such highlights as the bucolic "Hüttengriffe" and pensive "Camino" - he essays the first standards of his ECM tenure ("Everything I Love" and "I'll Remember April"), as well as his first-ever bebop rhythm-changes tune on record ("Ride"). Angular Blues also features a single guitar-only track, "Solo Kanon in 5/4," with Muthspiel's electronic delay imbuing the baroque-like rounds with a hypnotic glow.
Al Di Meola :

Across The Universe

World-renowned guitar hero Al Di Meola welcomes a new decade with an ambitious follow-up to his 2013 studio recording All Your Life: A Tribute to the Beatles with a sophomore homage to the Beatles, entitled Across The Universe, due out on earMUSIC on March 13, 2020. Al Di Meola's exquisite mastery of the fretboard is equal only to his appreciation of the Beatles' legacy that has inspired generations of both musicians and music fans with their famed recording catalog. A retrospective of Al Di Meola's nearly 50-year acclaimed career expressed through his virtuosic arrangements of 14 Beatles songs, Across The Universe journeys alongside one of America's foremost guitarists as he revisits classic hits and more obscure tunes written by the ingenious Fab Four who have helped define the man he is today. 
Artists For Peace And Justice :

Let the Rhythm Lead: Haiti Song Summit Vol. 1

Let the Rhythm Lead: Haiti Song Summit Vol. 1 is a meeting of musical styles and traditions that brings together the world views of songwriters Paul Beaubrun, Jackson Browne, Habib Koité, Jenny Lewis, Raúl Rodríguez, Jonathan Russell and Jonathan Wilson alongside members of Haitian roots band Lakou Mizik at the Artists Institute of Jacmel.  Steeped in polyrhythmic drumming of Haitian Vodou, complex notes of Spanish Tres, Flamenco and Malian Guitar, interwoven with North American folk and rock, Let the Rhythm Lead is a musical odyssey, employing an array of diverse songwriting traditions and genres to tell stories of new friendships and collaborations, powerful spirits and ancient traditions, all the while honoring humanity, love, understanding, awakening and rejuvenation. Six languages narrate the journey with singing in English, French, Creole, Khassonké, Manding and Spanish. All Press Secured By MISSING PIECE GROUP
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