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Africa Speaks
No matter the numerous musical terrains Santana have traversed since the late 1960s, their trademark Afro-Latin sound is so recognizable it often dominates the band's material. Not here; on Africa Speaksthat sound is just one among many -- some tunes here are almost unrecognizable as Santana). Produced by Rick Rubin, Africa Speaks was compiled from a whopping 49 songs, all recorded over ten days at Shangri-La in Malibu -- many in a single take -- most inspired by African melodies and polyrhythms. Throughout, the Santana octet is on fire, fronted by Spain's inimitable force of nature Concha Buika, a singer, songwriter, poet, and producer. She is so versatile, she's been nominated for Latin Grammys in several genres, and is equally adept at flamenco, jazz, soul, funk, and Anglo-Latin and Afro-pop.
Conga drums introduce Carlos' brief spoken narration to the title cut; his stinging guitar joins with Buika's pained modal moan in Andalus flamenco style in an improvised percussion-rippled interlude. A walloping Afro-Cuban bata rhythm precedes "Baytonga" before the band kick in with biting guitar riffs, Benny Reitveld's whomping bass line, Cindy Blackman Santana's rolling tom-toms (this set provides some of the finest drumming in her long career), and Karl Perazzo's congas. Buika, Andy Vargas, and Ray Greene chant as a choir countering David K. Mathews' fiery piano montunos toward a cascading crescendo. Driving, unfettered, bass-wrangling Afro-Latin funk fuels "Oye Este Mi Canto" and the single "Los Invisibles" as Buika's forceful vocals exhort, plead, and declare (the former also offers a scorching Mathews B-3 solo). Buika is a rock singer on "Yo Me Lo Merezco," as entwined guitar leads, fingerpicked chords, and the straight-on 4/4 rhythm section plod morphs to halve its time signature, becoming an unfettered jam where Carlos and Rietveld play head to head. (Look for it to become much longer live.) Laura Mvula guests on the simmering jazz-blues nocturne "Blue Skies," trading verses with co-composer Buika. "Breaking Down the Door," is a humid cumbia with Buika and a chorus relating a murder ballad while indicting patriarchy and class division. It's adorned by trombone breaks and accordion fills. "Luna Hechicera," is another fusion tune where rumba, jazz, and funk commingle and writhe as exquisite instrumental dialogues occur under Buika's soulful singing. "Bembele" is a Latin jazz groover that finds Carlos quoting from "Song of the Wind" (off 1972's Caravanserai) in his solo, with Buika's expressive vocal soaring and swooping in time to the rhythm section.
Africa Speaks is breathtaking in terms of energy and scope of vision. Here, the Santana band are -- more than at any time since the mid-'70s run of Caravanserai, Welcome, Lotus, and Borboletta -- a rangy, intense, restless, and musically hungry outfit aware of their potential. Africa Speaks is the surprise of 2019, the album Carlos has been desiring to make for decades but was unable to given contract restrictions -- Concord offered complete artistic freedom. He, Buika, and the Santana band made the most of it. - AllMusic Review by Thom Jurek
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Begin Again
I don’t usually make much space in my life for big band jazz–I respect the tradition but generally find the music too overbearing, too bombastic–but one of the rules that govern my life as a listener can be summarized as “Does it involve Fred Hersch? Then yes.” So I gave this album a spin. It finds Hersch at the head of an outstanding German ensemble, playing a set of his own compositions as arranged (and conducted) by the legendary Vince Mendoza. Mendoza is brilliant at locating and amplifying the subtleties and complexities of Hersch’s writing, expanding them into glorious elaborations. And Hersch himself does an amazing job of moving forward and backward in the arrangements, taking center stage when called upon to do so and supporting the ensemble modestly but powerfully otherwise. Like all of Hersch’s albums, this one is highly recommended to all libraries. - Rick Anderson, CD HotList
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Nostalgique Kongo
International trade has resulted in many wonderful (and some not-so-wonderful) things over the past several centuries, but surely one outcome that we can all agree to be grateful for is Congolese rumba. Emerging in the late 1930s in the Brazzaville/Kinshasa area, the development of this form of urban dance music was sparked by the interaction of Congolese port workers and sailors from the Caribbean, especially Cuba. A commercial music industry was coming into its own at the same time, and the result was an expansion of musical styles and a flood of recordings, 23 of which are gathered here on this excellent collection. The sound quality is better than one might reasonably expect, and the songs themselves are a consistent delight. - Rick Anderson, CD HotList
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From New York to Paris
Bassist and singer Nicki Parrott is always a delight to hear, whether she’s singing or playing bass or (astonishingly, to me) doing both simultaneously. Her latest is a quartet date that focuses on what we call the American Song Book–basically, songs by the likes of Cole Porter, Rogers and Hart, Cahn and Styne, and one of more of the Gershwins. These are songs that usually were first heard in stage musicals in the 1920s and 1930s, and that have since become jazz standards (as well as providing the chord changes for additional jazz tunes). So the repertoire on which Parrott is drawing here is pretty familiar: “I Love Paris,” “Manhattan,” “Slaughter on Tenth Avenue,” etc. But she sings and plays them with such warmth and with such a tender yet firm sense of swing that you don’t mind whatsoever hearing them again. Kudos also to reedman Harry Allen, who brings his own powerful sense of warmth and swing to the proceedings. For all jazz collections. - Rick Anderson, CD HotList
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Putumayo: World Peace
Putumayo is pleased to announce the release of World Peace on June 14th, 2019. It was inspired by President John Fitzgerald Kennedy, Reverend Martin Luther King, Jr. and other 1960s leaders’ search for peace and justice. JFK’s historic “peace speech” at American University on June 10th, 1963 led to the first limited nuclear test ban treaty and an easing in Cold War tensions. The themes he expressed, such as ending excessive militarism and “making the world safe for diversity,” resonate to this day. Excerpts are included in the booklet. World Peace features renowned artists Jackson Browne, Nina Simone, Keb’ Mo’, India.Arie, Richard Bona, David Broza, Wyclef Jean, the international collective Playing for Change, and others who have been committed to writing and recording songs of peace and freedom. It begins with contemporary blues artist Keb’ Mo’, who recorded a moving version of the 1975 classic “Wake Up Everybody” with its inspirational lyrics “there is so much hatred, war and poverty… the world won’t get no better, we gotta change it, just you and me.” Following Keb’ Mo’, we hear a call for Africans to come together to achieve peace and prosperity in “Africa Unite” by Swaziland’s Bholoja. Renowned singer-songwriter and activist Jackson Browne wrote and recorded “It is One”: “It is one world spinning ‘round the sun, this life is a battleground between right and wrong.” Cameroonian musician Richard Bona and jazz star Michael Brecker follow with their rendition of Bob Marley’s powerful “Redemption Song.” The legendary Nina Simone recorded her version of the civil rights anthem “I Wish I Knew How It Would Feel to Be Free” in 1967 after an Alabama church bombing and the civil rights struggle moved her to address these issues. The album continues with the Keb’ Mo’ recording of the classic peace anthem “Love Train.” Then, 4-time GRAMMY-winner India.Arie sings “One,” in which she calls for a celebration of the similarities that bring human beings together. We next head to South Africa for Bongeziwe Mabandla and his song “Freedom for Everyone.” Mabandla asks “Oh, what is freedom if there’s no freedom for everyone?” We then turn to the Palestinian/Israeli singer Mira Awad’s beautiful ballad “Think of Others,” a musical adaption of the poem by Palestinian poet Mahmoud Darwish. Awad sings, “Do not forget those who seek peace… those who have nowhere to sleep.” The album closes with two powerful ballads. On “East Jerusalem/West Jerusalem,” Israeli singer-songwriter David Broza is joined by Haitian-American star Wyclef Jean. They sing, “Spread a little love before you put your head down, maybe when you wake up, the world will be a better place.” The album concludes with John Lennon’s beloved peace anthem “Imagine,” sung by Playing for Change and featuring artists from Brazil, India, Nigeria, Nepal, and beyond. World Peace seeks to remind people of the importance of peaceful coexistence and freedom. As President Kennedy concluded in his June 10, 1963 address: “We shall do our part to build a world of peace where the weak are safe and the strong are just.” 2% of Putumayo’s proceeds from the sale of this album will be donated to the National Peace Corps Association in support of their efforts to amplify the Peace Corps community’s global social impact. - Putumayo
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Getz at the Gate
If you wonder why Stan Getz was known to his fellow musicians (especially other saxophonists) by the simple nickname “The Sound,” just take a listen to this 1961 live date recorded at New York’s Village Gate. The recording quality is not outstanding: it sounds like the band was miked somewhat haphazardly, or even like the recording was made in the crowd by a fan (though that seems relatively unlikely given that there’s clear stereo separation in the mix, with the drums deep in the right channel). But despite the overall sonic mediocrity of the recording, Getz’s tenor sax booms through the mix, rich and deep and clear. On this date his quartet was an all-star crew: it included pianist Steve Kuhn, drummer Roy Haynes, and bassist John Neves, and together they play a marvelous standards set that features such favorites as “Stella by Starlight,” “Airegin,” and “Woody ‘n’ You” along with some more obscure fare—and the band finishes up with a rollicking midtempo (and nearly unrecognizable) rendition of the swing classic “Jumpin’ with Symphony Sid.” For all jazz collections. - Rick Anderson, CD HotList
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Rouge
"Crush" gave Yuna a hard-fought commercial breakthrough in the U.S. The feathery Usher duet almost topped Billboard's Adult R&B Songs chart and sent Chapters, the singer's second Verve LP, into the Top Ten of the R&B/hip-hop chart. (In her native Malaysia, the single went to number one.) It's probably not coincidental that this follow-up is overloaded with featured appearances, possibly to maximize the potential for sustained crossover appeal. Whereas Usher and Jhené Aiko were harmonious collaborators on Chapters, not one of the six supporting voices on Rouge is as compatible, and the procession has a cumulative muddling effect. The songs with guest verses from Tyler, The Creator, G-Eazy, and Little Simz -- all in the album's front half -- would be effective, among Yuna's most distinct and powerful moments, without the distractions. Singer Masego and guitarist Miyavi are at least more like true support, sensitively assisting in Yuna's struggle to move beyond emotional growing pains and a fractured relationship with a variably cherished and maligned partner. As with the previous album, the primary co-songwriter and producer is Robin Hannibal. His finely layered fusions of post-disco R&B and dazed pop are still well-suited for Yuna's tender, increasingly rich voice and nuanced melodicism. The two are at their best when they let loose a bit, as on "Blank Marquee," a sweetly spiteful number faintly echoing Oliver Cheatham's "Get Down Saturday Night" and Edwin Birdsong's "Rapper Dapper Snapper." A close second is what comes after it, a sheer ballad with subtle twists and turns written with Alexandra Govere (aka Shungudzo). "You're not the love of my life" seems at first like a dismissal, but as Yuna repeats the line over a rhythm that tugs ever so slightly, the matter doesn't sound settled, and by the end she sounds like she's trying to suppress longing and regret. Those whose ears perk up by the MCs' names will hopefully listen intently enough to notice the detail and depth there and elsewhere. - AllMusic Review by Andy Kellman
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Rough Guide To Blind, Black & Blue
Part of the Rough Guides series. A remarkable phenomenon in the history of the blues was the vast contribution made by blind musicians, whose legacy has left a lasting impact on American music to this day. From 'The Father Of The Texas Blues' Blind Lemon Jefferson to slide guitar evangelist Blind Willie Johnson, this Rough Guide highlights the blind blues pioneers who, against all the odds and in the face of incredible adversity, were responsible for a musical revolution. - Midwest Tape
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Blue Roses
When Blue Roses arrived in June 2019, Runaway June was on tour with Carrie Underwood and Maddie & Tae. Based on this debut album, it was a fitting pairing. Blue Roses occupies a space between Underwood's gilded diva-pop and the sly side of Maddie & Tae, accentuating both the steely and tender aspects of both. Although Runaway June tends to adhere to the middle of the road -- they favor sunny melodies and clean, crisp settings -- the trio of Naomi Cooke, Hanna Mulholland, and Jennifer Wayne aren't afraid to quicken the tempos or crank the amps. A brawny cover of Dwight Yoakam's "Fast as You" serves as a testament to the latter, but Runaway June sounds even better when they thread that attitude into softer settings. Witness "Buy My Own Drinks," whose liberated swagger echoes that of Maddie & Tae's "Girl in a Country Song" or the bittersweet undercurrent that acts as a balance to the otherwise sprightly "Trouble with This Town." On ballads, the trio is equally deft: "We Were Rich" is vividly etched and "Blue Roses" is a plaintive and heart-rending weeper that evokes any number of close-harmony country trios. "Blue Roses" may be the one unadorned number on Blue Roses, but its presence illustrates Runaway June's sturdy foundation, while the rest is gleaming state-of-the-art country-pop, the kind that glides easily into the mainstream yet lingers in the mind long after it's stopped playing. - AllMusic Review by Stephen Thomas Erlewine
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Live At Woodstock
Creedence Clearwater Revival didn't think much of their set at Woodstock. Irritated by being pushed into the midnight slot by a series of misadventures they'd blame on the Grateful Dead, they wrote off their performance, not appearing in either the film or its accompanying soundtrack. Five decades later, they acknowledged the pull of history, consenting to have their performance as part of Rhino's mammoth complete set Woodstock: Back to the Garden, and also allowing it to be released by Craft Recordings. Listening to the nine-song concert in either context, it's bewildering to think that this was dismissed by anybody involved with the band. Throughout their hour-long set, CCR sound ferocious, tearing through their hardest material, playing "Born on the Bayou," "Green River," and "Bootleg" with a nasty edge. The hardness of their choogle is a bit of a revelation, as the band sound fiery in a way that they don't on any of the officially released Creedence live recordings. If CCR stuck to their hits, it'd be one thing, but the band gains momentum as their hour proceeds. Once they play an apocalyptic "I Put a Spell on You," they've set themselves up for a conclusion where they land on two mesmerizing ten-minute concluding songs. "Keep on Chooglin'" and "Suzie Q" stay mean throughout their long jams, leaving the question hanging: if this was Creedence Clearwater Revival on an average night, what on earth did they sound like on a great one. - AllMusic Review by Stephen Thomas Erlewine
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Elements
Gospel music’s favorite artist, VaShawn Mitchell returns with ELEMENTS, available everywhere today. The multiple Stellar and Dove Award winner, and GRAMMY nominee, offers an exceptional 13-track album in commemoration of his successful 20-year career in music. ELEMENTS has already generated two impactful singles “Wind of God,” and “God Can Do Anything,” which continues to climb the gospel radio charts. Mitchell’s music continues to connect with both fans and industry peers as ELEMENTS has been heralded as a must-have. The Journal of Gospel Music says in their review of the album “fans of his distinctive brand of P&W, and P&W fans in general, will welcome this collection of worship atmosphere-setting songs.” The review also points out Mitchell’s penchant (and successful history) for introducing songs into the praise & worship canon and this project does not disappoint. From the opening track, “Anything is Possible,” and “My Praise” to “We Receive,” ELEMENTS has songs for corporate and personal worship moments. ELEMENTS is Mitchell’s first album in three years, and it continues to further his unique sound and messages that are both life-affirming, and power-filled. - The Christian Beat review by Jessie Clarks
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Anatomy Of Angels: Live At The Village Vanguard
Coming off his expansive, Grammy-nominated 2018 studio album Hollywood Africans, Jon Batisteoffers the more intimate and swinging Anatomy of Angels: Live at the Village Vanguard. Recorded live in 2018 during Batiste's residency at the storied NYC-venue, Anatomy of Angels finds the pianist displaying his fluid jazz chops alongside his longtime Stay Human bandmates bassist Philip Kuehn and drummer Joe Saylor. As the high-profile bandleader on Late Night with Stephen Colbert, Batiste has often showcased his eclectic funk, R&B, and even pop influences. Here, he shifts to a more traditional jazz sound that evokes his deep New Orleans roots and passion for the music of innovative bebop pianist Thelonious Monk. The opening trio original, "Creative," in particular evinces Monk as Batiste kicks the song off with an angular, rhythmically dynamic intro before settling into a jaunty, mid-tempo groove. Similarly engaging is his rambling "Dusk Train to Doha," in which he launches into a cascading rubato intro before settling into the song's slow-burning and bluesy midsection. Batiste also brings along a series of guests including Lake Street Dive singer Rachael Price, who pairs with the pianist for a dusky, urbane reading of Ray Noble's "The Very Thought of You." Later, he expands his trio to an octet with trumpeters Giveton Gelin and Jon Lampley, as well as saxophonists Patrick Bartley and Tivon Pennicott, for a dynamically robust ensemble performance of Monk's classic "Round Midnight." The same group also sticks around for a lively version of Batiste's own modal-tinged title track. While Batiste has long been recognized for his charisma and cross-pollinated sound, with Anatomy of Angels he spotlights his richly textured jazz chops. - AllMusic Review by Matt Collar
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Crossroads
The renowned and beloved veteran trumpet master Rick Braun is back at it again, releasing another groove-filled full-bodied collection of goodies for c-jazzers to wrap their hearts and ears around – Crossroads. It’s a tight, well-oiled, and well-produced work that we have come to expect from one so polished and adept in the art and its nuances. Working together with such household luminaries/buddies as Richard Elliot, Philippe Saisse, Peter White, Nate Phillips, Greg Phillinganes, Chris “Big Dog” Davis, Lenny Castro, and a host of others, Braun brings the sunshine and the lure of great quality jazz right up to the shores of our souls and coaxes us into that familiar dance of joy and adoration with this music. From the funky, high-steppin’ lead track “Around the Corner” to the slick, sauntering “Brazz Street” to the lively, head-bopper title track to the sweet and sultry “The Moment I Saw You” to a cool jazzed-up version of Stevie Wonder’s “I Wish” to the bossa-flavored “Bahia” to the finale, a magnificently smooth cover of Bruno Mars’ ”Versace On the Floor,” the accomplished trumpeter excites and seduces throughout. Being quite versatile with countless hits over the years –having even dabbled in straight-ahead covers, with vocals, and having appeared on countless releases by others, Braun has impressed me time and again, and his brand of c-jazz will always have a spot in my heart. The delivery is always silky and seamless, the appeal always so compelling. In a world where so much is askew now, we can always count on this classy artist to deliver that straight, smooth path to stability, serenity, and the groove. Grab this one, settle back, and let Rick Braun do Rick Braun. You know the guy; so, recognizing and appreciating his brand should be a cinch. – SmoothJazzRide.com review by Ronald Jackson
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Freegal MusicGet three free mp3 downloads per week and listen to 3 hours of streaming per day with your library card. Available via the Freegal Music app or the Freegal website.
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hooplaSet-up a hoopla account with your library card to use the hoopla app and website to stream music. You can borrow full albums for one week, up to five per month.
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Mercer County Library System 2751 Brunswick Pike Lawrenceville, NJ 08648 Phone: (609) 882-9246 E-mail: nrsupprt@mcl.org |
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