Het is van dat! Jullie kunnen het programma duidelijk smaken, want alle 10-dagen combitickets zijn uitverkocht! Het belooft dus terug een prachtige editie te worden.

Maar niet getreurd: er zijn nog steeds voor alle dagen individuele dagtickets beschikbaar! Heb je dus zin in een avondje Lokerse Feesten met headliners zoals Kings of Leon, Kraftwerk 3D, Black Eyed Peas, Judas Priest, Snow Patrol, Louis Tomlinson, 2ManyDJs live, Flogging Molly, Bad Religion, Zwangere Guy, Damian ‘Jr Gong’ Marley, Bazart of Clouseau? Surf dan naar www.lokersefeesten.be en scoor vandaag nog je tickets. Daar vind je ook het tijdschema voor elke dag. 

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​Captain Beefheart Guitar Legend Jeff Cotton Releases Single and Video for “Does It Work For You”
Taken From His Debut Solo Album “The Fantasy of Reality”
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​
After playing guitar, lap steel and vocals with the legendary Captain Beefheart and his Magic Band, appearing on the ground breaking album “Trout Mask Replica” (under the pseudonym Antennae Jimmy Semens), as well as playing on “Strictly Personal” & “Mirror Man,” Cotton withdrew from the commercial music business for nearly 50 years. Using the island state of Hawaii as a home base, he emerged from his seclusion in 2022 with his first ever solo album; “The Fantasy of Reality.”
Whimsical, playful and tongue-in-cheek – Cotton delivers a psychedelic journey that will delight Beefheart devotees while bringing plenty of new ideas to the table across the sprawling 22 track, 66-minute runtime. “Trout Mask Replica” cover designer Cal Schenkel collaborates once again as he returns to contribute to the internal artwork of the album to continue the Captain Beefheart canon into the 2020s.


Across the decades, the Magic Band’s power and influence has only grown in might, and the cult following of 1969’s “Trout Mask Replica” still excites fans to this day, in part due to the mystery and enigma of members such as Antennae Jimmy Semens (aka Jeff Cotton). In 1967, Cotton was scoped by Don Van Vliet – Captain Beefheart himself, replacing Ry Cooder on guitar. He then went one to help craft some of Captain Beefheart and the Magic Band’s most vibrant recordings and later contributed to the cult band MU.
Now blending together musical strands such as jazz, delta blues, Hawaiian and the avant-garde to create a melting pot of ideas, Cotton will astonish fans with his comeback.

​Harmonica ace Bob Corritore once again puts together an all-star blues showcase of his amazing friends. The cream of today’s current crop of blues artists deliver 16 killer songs and electrifying performances on the VizzTone release You Shocked Me.

​Captured during 12 recording sessions between 2018 and 2022, these 16 hard-hitting tracks deliver pure, unvarnished blues of the highest order. Recorded at Tempest Recording in Tempe Arizona, Corritore’s masterfully understated production captures the urgency of a live performance and the finishing touch to make complete, memorable songs. The glue that holds it all together is the combination of Bob’s focused production work and his expressive “serve the song” harmonica style.

Featured vocalists on this set include longtime collaborators Alabama Mike (who contributes four powerful songs), soul/blues/gospel icon Johnny Rawls, salt of the earth Southern bluesman Bill “Howl-N-Madd” Perry, Sugaray Rayford, Diunna Greenleaf, Jimi “Primetime” Smith, Oscar Wilson, Bob Stroger, Francine Reed, and Willie Buck.

Corritore was born in Chicago in 1956, and heard Muddy Waters on the radio at age 12, an event which changed his life forever. Within a year he was playing harmonica and collecting blues albums. He saw blues shows in his early teens, and cut his teeth sitting in on Maxwell Street until he was old enough to get in the clubs. He hung around great harp players such as Big Walter Horton, Little Mack Simmons, Louis Myers and Junior Wells, and received harmonica tips and encouragement from many of them. Bob became friends with many blues veterans, working with them in the late 70s and 80s, and going into the studio to produce some classic albums.

In 1981 Bob ventured southwest to live in Phoenix, Arizona, where he was soon joined by Chicagoland friend Louisiana Red. Bob started his still-running Blues radio show in 1984, and in 1991 opened the now famous Blues and Roots Concert club, The Rhythm Room. In 1999 Bob released his first CD as a national recording artist. His many albums have now been released on Hightone, Blue Witch, and Delta Groove, and digging into his vast vault of recordings, Bob has released 10 albums since 2018 through his own Southwest Musical Arts Foundation in affiliation with VizzTone.

Bob’s work has garnered a Keeping The Blues Alive Award, Blues Music Award, Living Blues Award, and Blues 411 Jimi Award. Bob remains very active with his own releases as well as numerous guest appearances on others’ albums. He performs regularly across the country and around the world with numerous projects.Bob has also become well known for organizing multi-artist showcase sets and events featuring traditional blues artists.
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Corritore has gained a strong presence in today’s blues market by releasing a solid output of music from his storied “Vaults” as well as current gems.

'Party Reverberation'
de nieuwe single van Cargo Mas: NU uit
 
(bonustrack: ska-remix, feat. sax/flute Ian Hendrickson-Smith /
bekend van The Roots & The Dap Kings).
  
Voor fans van: zwoele zomerse dansmuziek met een Caribische touch
​

Cargo Mas is het Belgisch/Nederlands project & muziekcollectief rond componist/muzikant/trompetist Sam Vloemans.
 
Live laat hij zich omringen door muzikanten die hun sporen verdienden bij onder andere Lianne La Havas, Zap Mama, Gabriel Rios en Guru’s Jazzmatazz.
 
Door de uiteenlopende achtergronden van de bandleden tekent het collectief voor een unieke sound en eigenzinnige mix van jazz-funk, latin, old-school hiphop en rock-‘n-roll.
 
Op het debuutalbum 'Cargo Mas I' zijn er naast bijdrages van bevriende muzikanten zoals Bruno de Groote (dEUS), Joris Caluwaerts (STUFF.), Kobe Proesmans (The Colorist Orchestra) en Tom Vanstiphout (die met Bryan Ferry de wereld rond trok) ook een aantal features.
 
Zo werkte het collectief samen met Ida Nielsen (bassist - Prince’s Funk Princess),  trombone legende Fred Wesley (voormalig bandleider van James Brown, lid van Parliament-Funkadelic en Bootsy’s Rubber Band) en trompettist Mike ‘Maz’ Maher, stichtend lid van Snarky Puppy.
 
Voor de vorige single '5th Avenue' wist Vloemans Cory Wong te overtuigen, Wong de funky spring-in-'t-veld 'snarenplukker' op elk Vulfpeck album. Dit was trouwens de eerste keer dat Wong toegezegd heeft op een vraag van een Belgische artiest om mee te spelen op een single.
 
En voor de nieuwste single werd een extra dansbare ska-remix gemaakt met de muzikale hulp van Ian Hendrickson-Smith (sax/fluit),  bekend van The Roots & The Dap Kings).

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- Twee exclusieve zomer shows met special guests -
 
Steven De Bruyn, Monsieur Paul (Triggerfinger), Frank Deruytter, Walter Boeykens ensemble, LYNA, Jaouad & Andrew 'Chi' Claes (STUFF)
 
6 augustus – Bornem Festival (CC Bornem)

Een jaarlijks festival opgedragen aan de wereldvermaarde klarinettist, dirigent en pedagoog Walter Boeykens. Verwacht je aan mooie melodieën, filmische sferen en sterke grooves en beats. Om het kleurenpallet compleet te maken vervoegen Steven De Bruyn (mondharmonica), Frank Deruytter (sax) en Monsieur Paul (gitaar - Triggerfinger) het concert als gastsolisten samen met het Walter Boeykens ensemble (strijkkwartet en klarinet).
 
Het is meteen ook de première van gloednieuwe muziek, gecomponeerd en gearrangeerd voor deze diverse muzikale bezetting waarbij jazz, rock & klassieke muziek zich verenigen

12 augustus – OLT (Rivierenhof) Deurne

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LYNA: 23-jarige Brusselse R&B singer/songwriter met warme soulvolle stem.
 
Jaouad: creatieve-doet-al, combineert alle mogelijke kunstvormen & zang,
acteren, schrijven, mode, theater etc. Zijn missie: connect people through art
and dialogue.
 
Andrew 'Chi' Claes (STUFF): Antwerpse veelzijdige multi-instrumentalist/
elektronica wizard /saxofonist/muzikant/producer (cfr Stuff., BRZZVLL, Aerobe,
Internal Sun etc.)

 

MPS (EDEL) is proud to announce the release of the newest project by Robben Ford and Bill Evans, called Common Ground on September 30th, 2022.  The multiple time Grammy nominees Ford and Evans have shared the stage in Europe, North America and even Japan and already released a collaborative album called The Sun Room together in 2019 (earMUSIC). With the jazz rock album Common Ground they continue their creative relationship as Evans explains.

“Every now and then, like-minded musicians are able to get together in the studio or on the same stage and create interesting music together. It’s the blending of each other’s influences and styles, and the will to create something new and fresh that can turn this ‘creative meeting’ into something special. I believe myself and Robben share that same ideology. We both love all kinds of music whether it’s classic blues, soul, rock and roll, you name it. This openness to combine different kinds of music and create something musical and special is what brought me and Robben together in the first place. Robben composed some of the most inspiring music I’ve played in a long time. Our writing styles blend seamlessly.”
 
The first single and title track that was digitally released today features the vocals of popular German singer Max Mutzke, who finds the kindest words for this collaboration.  “When I was a little boy, I went to Bill Evans concerts with my father. I listened to his music over and over. Bill has always been a musical inspiration for me.  Now he is my friend and that is an incredible joy for me. What a great person.  At his request, I am singing a song on his and Robben’s album. It's a dream come true.”
 
The single release is accompanied by a lyric video in the style of the album artwork that illustrates the song’s message about the importance to finding a common ground despite different ways of living, moral values and points of view.
​

​Recorded in Nashville, the jazz rock album features a first-class rhythm section with bassist Darryl Jones (recording and touring with the Rolling Stones since 1993 and former sideman of Miles David and Sting) and drummer Keith Carlock (currently a touring member of Steely Dan). It was produced by Bill Evans and Clifford Carter, who also took over the piano and organ on the title track.
 
Robben Ford about the recording: “It’s always a great and sought-after pleasure to work with some of the best musicians in contemporary music, and making this record was for me one of those occasions. We have, each of us, worked with one another in different configurations in the past, so, there is a comfort level in that. But more importantly, everyone involved is a dedicated musician who’s first thought is to make the best music possible in any situation. Such a joy for me, personally, to play with these gents! Bill and I have worked quite a lot together over the past several years. But, the opportunity given to us by Edel to finally document the music has happily resulted in two recordings that we are very proud of the first being ‘Sun Room’ released on earMUSIC and now ‘Common Ground’ on MPS.

I feel the music presented here is ‘fresh’ in both composition and performance with all of the musicians being versatile, true improvisers and having a strong sense of groove, as well. These are the qualities that make you want to play! I’m so happy to have been a part of what lead to this record.”
 
 
 
Common Ground will be released as a digipak, 2 LP gatefold and digitally on September 30th, 2022.

ZZ Top releases new album RAW from Shelter Records, through BMG today. RAW is an homage to the band’s early days and was recorded and filmed for the Grammy-nominated Netflix documentary, "That Little Ol’ Band From Texas", in the intimate setting of the famed Texas honky-tonk, Gruene Hall between Austin and San Antonio. The historic venue dates to 1878 and has been in continuous use as the oldest, continually operating joint in the state. Billy Gibbons, Frank Beard and the late Dusty Hill gathered there to record in a spare, bare bones way and the result of those efforts is twelve tracks that comprise the RAW tune stack. 

When the three members of ZZ Top gathered at Gruene Hall, they were in each other’s line-of-sight, making for a very organic recording session, part of which is seen in the film. The RAW tracks were recorded over the course of one day with an eye to keeping the whole process as simple and straightforward as possible, a nod to the band’s early days. RAW, the totality of their efforts there, is available on 180-gram vinyl, CD and through digital platforms. The album was produced by Billy F Gibbons, engineered by Jake Mann and G.L. G-Mane Moon and mixed by Ryan Hewitt. The album is issued “in righteous memory” of Dusty Hill who passed away last year.

The release of the RAW album will be supported by ZZ Top’s forthcoming RAW WHISKY TOUR. The tour, which started on May 27 in San Diego, CA, will see the band on stage in 100 dates across North America. The tour’s title is a hat tip to both the forthcoming album as well as the recent release of ZZ Top Tres Hombres whisky from Balcones Distilling of Waco, TX, a flavorful 100 proof mash bill of roasted blue corn, malted barley and rye.

RAW Tracklisting
Brown Sugar
Just Got Paid
Heard It On The X
La Grange
Tush
Thunderbird
I’m Bad, I’m Nationwide
Legs
Gimme All Your Lovin’
Blue Jean Blues
Certified Blues
Tube Snake Boogie

Follow ZZ TOP
Facebook - Instagram - Youtube - Website
​

STEVE KNIGHT’s journey from Olathe, KS to Chicago via Oklahoma, South Carolina, New York, and the Caribbean has been anything but linear or predictable. He’s now releasing his debut album, PERSISTENCE, a trio recording featuring seven of his originals as well as several compositions by other artists.
​
Like most jazz guitarists, Knight was Influenced by the pantheon of jazz greats like Wes Montgomery, Jim Hall, and Grant Green, but his greatest inspiration is George Benson. “I don’t like music that seems to be written just for other musicians,” says Knight. “A jazz guitarist is part poet and part athlete. I think Benson strikes the perfect balance. He’s an incredible technician on the guitar, but his music is very accessible for a general audience.”

Indeed, Knight displays his considerable chops on PERSISTENCE, but never overwhelms the listener with mere showmanship. Joined by two stalwarts on the Chicago jazz scene, bassist JUSTIN PETERSON and drummer JEFF STITELY, the trio began playing together during the Covid-19 lockdown, presenting weekly concerts from Knight’s backyard in their idyllic, tree-lined neighborhood. The impromptu jams became concerts with neighbors gathering at the fence and audiences growing quickly and reaching into the park across the street. The Alderman took notice, helped move the concerts to the park, and a whim turned into a weekly event where neighbors still gather with their families to commune enjoying food, dance, drink, and music.

Playing for a live audience over the years gave the band insight into the music that people liked to hear, and the tunes on PERSISTENCE unfolded from those concerts. The album’s title reflects not only Knight’s tenacity at working to make music a viable career, but also the 18 months it took him to finish writing the title track, ”Persistence,” with some help and insight from Jim Trompeter, the successful film and TV composer with whom Knight studied jazz composition. Knight has a special fondness for artists who can successfully transmogrify pop tunes into jazz, and “Persistence” has a pop feel wrapped up in jazz harmonies.

The album’s opening track, “Suspects,” relies on the unresolved, floating nature of suspended chords to create an open atmosphere à la Herbie Hancock’s “Maiden Voyage.” Knight’s proclivity for puns in song titles extends from the opener to “Sharps Disposal,” a minor blues in F# minor. The name came to him at the doctor’s office where he saw a needle disposal box labeled “sharps disposal.” Knight includes an alternate version of the tune as the closing number.

“Chop Chop,” a blues blowing vehicle, was directly influenced by Benson’s 1964 tune, “The Cooker.” Knight wrote the funky “Real Type Thing” in 20 minutes before going into the studio. He says, “While ‘Persistence’ took me 18 months to write, I wrote ‘Real Type Thing’ in about 20 minutes. It just seemed to write itself.”

​“Just Add Meaning,” among the first songs Knight wrote, was titled somewhat nonchalantly after a conversation with Trompeter led him to remember the line from A Beautiful Mind, the film starring Russell Crowe. Knight wrote “Workshop” during a workshop session led by Peter Bernstein.
Cover songs on the album include “Cisco,” an homage to recently-deceased jazz guitar innovator Pat Martino, another influence of Knight’s. Two pop covers on the album reflect Knight’s belief that jazz can be both audience-friendly and artistically gratifying -- Tom Petty’s big hit “Mary Jane’s Last Dance” and “Change the World,” a tune originally performed by Wynonna Judd that became a hit when Eric Clapton and R&B singer Babyface recorded it. Bassist Justin Peterson contributed “Art’s Rant,” a pseudo jazz march in the vein of Benny Golson’s “Blues March” that introduces an unexpected rhythmic texture to the proceedings

ABOUT STEVE KNIGHT
Steve Knight began playing guitar at 12 years old when he traded his skateboard for a Sears guitar with a built-in 9 volt-powered amp. When his parents grounded him for six months for “undisclosed but totally legitimate reasons,” Knight found solace in guitar and developed quickly.
Knight went to Emporia State University, a small liberal arts college in Kansas, where he majored in theater. Being able to play guitar and read music, however, soon landed him in the orchestra pit for school shows and eventually to the school’s big band. After graduating, he worked in theater as a director and professor while picking up the occasional jazz gig.

Knight eventually moved to New York City for its opportunities to work as a musician and soon after was hired by Carnival Cruise Lines, playing in dance and theatre bands for a year in the Caribbean. Though a “formative and invaluable professional experience,” it also made him realize his true passion lie not in simply playing guitar professionally but doing so within the jazz idiom. Upon his return, he studied with some of the finest jazz artists on the scene today, including Jack Wilkins, Mark Whitfield, and Mark Sherman while working a day job. Looking for a more tenable lifestyle artistically and financially, Knight and his wife moved to Chicago in 2016.

Upon arrival, Knight immediately immersed himself in the jazz scene, attending jam sessions and using social media to connect with other local musicians. He met bandmates Justin Peterson and Jeff Stitely at those jam sessions where they developed a strong rapport. Today, Knight has a busy and rewarding career playing jazz and teaching guitar.

###

PERSISTENCE will be released August 12, 2022 and will be available everywhere.

Online:
Steveknight.net
fb.com/skjazzguitar
instagram.com/skjazzguitar

Two-time Blues Music Award-winning sax player Jimmy Carpenter (2021/2022), who’s also been nominated recently for a Blues Blast Magazine award for best horn player, has something special in-store for his fans with the release of his new CD, The Louisiana Record, due September 16 from Gulf Coast Records.
 
“When Mike Zito, my old friend and co-owner of Gulf Coast Records, called to say it was time for me to make another record, I was super excited,” Carpenter recalls. “When he told me about his idea for a Louisiana-themed cover album, I admit I was skeptical; but the longer I thought about it, the more I liked the idea. As Mike pointed out, there is no doubt that my time in New Orleans redefined me as a musician, and changed me forever on many levels. When he suggested we go down to Dockside Studios, situated on the lazy Vermilion River south of Lafayette, Louisiana, record with iconic New Orleans engineer, Mr. David Farrell, AND work with some of my dearest friends and finest musicians in the Crescent City, I was absolutely sold. From a very long and amazing list, we chose songs by some of the most important songwriters in American music, artists like Allen Toussaint, Fats Domino, and Dr. John. The Louisiana Record is my tribute to the mash-up of Blues, Soul, Rhythm & Blues, and Rock-n-roll that is New Orleans Music.”
 
Joining Jimmy Carpenter (sax and vocals) for the red beans and rice run of 11 songs on The Louisiana Record are: Mike Zito – guitars; Casandra Faulconer - bass guitar; John Gros - piano/organ; and Wayne Maureau – drums.
 
Now based in Las Vegas, Jimmy Carpenter lived and performed in New Orleans from early 2004 until 2016, and his time there clearly influenced his music.
 
“Without question, New Orleans and the music that flows out of that great city have had a huge impact on me, musically and personally,” Carpenter says. “These are songs by iconic American songwriters, just a few of my favorites that helped shape me and my approach to writing, playing, and living. It is impossible to overstate the influence New Orleans, its music and its musicians have had on me, as player, songwriter, and performer. 
 
"The musical bar in New Orleans is set very high, and it's both terrifying and inspiring. I got used to being in over my head, and hanging on for dear life. But as daunting as the music can be, I was welcomed and encouraged by the musicians and the community. My friends that recorded this album with me were all huge parts of my ‘upbringing” in that scene, and I'm so happy we came together again to record these songs.
"There are so many songs that I've come across in my life that originated in Nola.  I did ‘I Hear You Knocking’ and ‘Travelin' Mood’ years ago, but hearing Fats Domino and Dr. John do them - right in front of me - really gave them new meaning.
 
"As I searched for songs for this record, the one that I was sure I wanted to do was the beautiful ballad, ‘All These Things. Written by one of the world's greatest songwriters, Mr. Allen Toussaint, and recorded originally by Art ‘Poppa Funk’ Neville, it is the epitome of New Orleans soul: simple, melodic, grooving and a great song for some pretty sax.
 
"‘Something You Got,’ by Chris Kenner, is a standard in New Orleans, but I did not realize how many artists, from all over the world, have recorded it. I think we put a very cool, funky, greasy spin on it, and it's definitely gonna’ be in my regular set hence forth.
 
"This record is very different for me, recorded almost completely live, with simple instrumentation, and no frills. Strong melodies, laid back, grooving, iconic songs that were a real pleasure to play and sing, especially with this group of musicians, and literally on the bayou at Dockside Studios."
 
The Louisiana Record Track Listing
 

1. I Hear You Knocking - Dave Bartholomew, Pearl King
2. I Got Loaded - Camille Bob 
3. Something You Got - Christopher Kenner
4. Barefootin’ - Robert Parker
5. All These Things - Allen Toussaint
6. Travelin’ Mood - James Waynes
7. Cry  to Me - Bert Russell
8. Those Lonely Lonely Nights - John Vincent Imbragulio, Earl King
9. Pouring Water on a Drowning Man - Drew Baker, Danny McCormick
10. Bringing It On Home to Me - Sam Cooke
11. Rockin’ at Cosimo’s - Lee Allen

Jimmy Carpenter Social Media:
Website: https://jimmycarpenter.net/
Facebook: https://www.facebook.com/jimmycarpenteronsax
Instagram: https://www.instagram.com/jimmyonsax/
Twitter: https://twitter.com/JimmyonSax1
YouTube: https://www.youtube.com/channel/UCoEhCZKIZm12nWp7haIRk9w

GRAMMY Award–winning singer Roberta Flack will release an autobiographical picture book with Anne Schwartz Books, an imprint of Random House Children’s Books, it was announced today by Anne Schwartz, Vice President & Publisher. In the story, Flack recounts her childhood growing up without many material possessions but surrounded by music and love. Her rise to stardom started with a beat-up piano that her father found in a junkyard, repaired, and painted green. Schwartz acquired North American rights from the Jennifer Lyons Literary Agency and will also edit the project. THE GREEN PIANO: How Little Me Found Music will release on February 14, 2023.
​
The personal and inspiring story, co-written with award-winning author Tonya Bolden, features rich, moving illustrations by Hayden Goodman and shares an intimate look at Roberta Flack’s family and her special connection to music. Its release coincides with the 50th anniversary of Roberta’s beloved classic song “Killing Me Softly with His Song” and includes fascinating back matter by Flack, with more about her childhood and where fame has led her.
Growing up in a Blue Ridge Mountain town, little Roberta didn’t have fancy clothes or expensive toys, but she did have music. And she dreamed of having her own piano. When her daddy spies an old, beat- up upright piano in a junkyard, he knows he can make his daughter’s dream come true. He brings it home, cleans and tunes it, and paints it a grassy green. And soon the little girl has an instrument to practice on and a new dream to reach for—one that will lead her directly down the road to fame.
“I have long dreamed of telling my story to children about that first green piano that my father got for me from the junkyard in the hope that they will be inspired to reach for their dreams” says Flack. “I want them to know that dreams can come true with persistence, encouragement from family and friends and most of all, belief in yourself.”
Legendary singer Roberta Flack is known for her number one singles “The First Time Ever I Saw Your Face,” “Killing Me Softly with His Song,” “Feel Like Makin’ Love, “and “Where Is the Love” and “The Closer I Get to You,” two of her many duets with Donny Hathaway. She has received thirteen GRAMMY nominations, four of which she won, as well as a GRAMMY Lifetime Achievement Award.

The legendary jazz label Candid Records, which officially relaunched in April 2022 with five historic titles from its illustrious back catalogue, has announced five additional titles to be reissued on August 26th, 2022. Titles will include Pee Wee Russell & Coleman Hawkins’s Jazz Reunion, Clark Terry’s Color Changes; Cecil Taylor’s The World of Cecil Taylor; Booker Little’s Out Front; and Booker Ervin’s That’s It.
​
All five were produced in 1960/61 at Nova Penthouse Studios in New York City by the label’s esteemed A&R director Nat Hentoff and released in 1961.They have been remastered by award-winning audio engineer Bernie Grundman directly from the original tapes for CD, streaming services and 180-gram vinyl.
 
The reissues include musicians who not only defined the music of their generation but influenced many of the greatest players for generations to come. Featured are two trumpeters (one of the most promising and one of the most legendary), two celebrated tenor sax players, one of whom reunites with a clarinettist whose style defied classification and one of the greatest pianists in jazz history.
 
“Candid Records is a treasure chest of the finest jazz albums ever made,” states Mark Wexler, head of Candid Records. “It is very gratifying to witness the extraordinary response our initial relaunch of this celebrated catalogue has received. As we continue to reissue the catalogue with these five additional titles it is our goal to not only present them to jazz aficionados but to introduce an entire new generation to these legendary artists who helped define America’s greatest art form we call jazz.” 

Exceleration Music Partner (which acquired Candid Records in 2021), music producer John Burk commented: “Relaunching this historical label and celebrating its legacy is both an honour and a great responsibility…and we carry the baton proudly. It has always been our intention to do so without compromise, and our mission continues with these legendary recordings we pay homage to today.”

More info: ​www.candidrecords.com

Onlangs speelde de Engelse formatie The Heavy Heavy, geleid door het duo Will Turner en Georgie Fuller, op het London Calling-festival in de Amsterdamse Paradiso. Ook gaan ze van de zomer naar Amerika om op twee grote festivals op te treden en ze worden er voor een korte club-tournee op sleeptouw genomen door Black Pumas (plus een aantal Europese data!). En in het najaar staat al een grote Engelse ‘major headline’ tournee in hun agenda. De reden voor al deze aandacht is hun ‘feelgood’ EP “Life And Life Only”. Met hun pakkende combinatie van ‘psychedelic blues, bombastic soul, acid rock and sunshine pop’ ademen ze ‘new wild energy into sounds from decades ago, transcending eras with an euphoric and hypnotic ease as they tap into musical touchstones that range from ‘British Invastion’ pop-acts like The Hollies, The Zombies and The Kinks, American ‘flowerpower’ 60’s bands as Jefferson Airplane and The Mamas And The Papas, to Peter Green-era Fleetwood Mac, to a sonic alchemy all their own’. De EP telt 7 nummers en staat bomvol ‘effusive harmonies and fuzzed-out guitar work’!

“Miles And Miles” is de eerste single/videoclip van de 12”-EP “Life And Life Only”!
​The Heavy Heavy - Miles And Miles (Official Video) - YouTube
​

Na twee jaar corona perikelen mogen we weer feesten, en dat Turnhoutenaren graag feesten bewezen ze eens te meer op de STOEBER rock 'n' roll night op 25 juni jongstleden. Op onze nationale feestdag donderdag 21 juli breidt Grasshopper vzw, het team achter de uiterst succesvolle Rockin' Around Turnhout kroegentocht van enkele jaren geleden, daar een swingend vervolg aan met een nieuwe editie van het gratis toegankelijke Turnhout Royale festival op de Grote Markt. Of de koning en de koningin zelf aanwezig zullen zijn valt nog af te wachten, maar de crème de la crème van de rock 'n' roll en de rockabilly staat paraat om u een hoogdag te bezorgen.

​Daarbij werd op géén kleintje gekeken en de aftrap wordt gegeven door WENZDAZE uit Los Angeles, de punkabilly band van Hayden Kennedy, de amper 14-jarige zoon van labelbaas Reb Kennedy van het iconische Wild Records. Met BELLE STARR & THE BOOT JACKS, MOONSHINE REUNION en MISCHIEF hebt u recht op de beste bands uit Nederland en België, en het feest wordt afgesloten door showman par excellence EARL JACKSON, de Brit die méér Chuck Berry is dan Chuck Berry zaliger zelf. DJ Rudy, internationaal gerenommeerd dankzij zijn fel gewaardeerde passages op festivals van Engeland tot Spanje, vult alle gaatjes op met plaatjes, en Frantic Franky, de Jan Theys van de rockabilly, schreeuwt de boel vakkundig aan elkaar. Er is de Turnhout Royale oldtimer en hot rod show, er zijn Belgische frietjes, en voor de allerkleinste rockertjes is er kinderanimatie voorzien. Smeer uw dansbenen maar al in voor non stop actie van 14 tot 23 uur ! 

 Volledige line-up 9, 10 & 11 september bekend ​

 
Naast de al eerder aangekondigde namen, is het affiche voor Festival Better Get Hit nu rond. Headliners Kovacs, Jungle by Night, Rymden en Mell & Vintage Future voeren het programma aan. Daarnaast staan, verspreid over de drie festivaldagen, de volgende namen op de line-up van het festival: Re:Freshed Orchestra, Steffen Morrison, Harlem Lake, Montis, Goudsmit & Directie, Aafke Romeijn, Paradox Jazz Orchestra, PAX the humanoid, The Bluesbones, The Tibbs, K.O.Brass, Artvark Saxophone Quartet & Nyk de Vries, SMANDEM., Private Time Machine, Bonsai Panda, Lev Avitan, Yannick Hiwat Quintet, Koen Smits, Big Bo, BLOW 3.0, Catfish, The Giant Everywhere: Teus Nobel, Reinier Baas, Alexander van Popta & Wil Boesten. 
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​Meer informatie & tickets

'Fresh Water' is de tweede single uit het nieuwe Dez Mona album 'Loose Ends' (14.10.2022).
De song gaat over je helemaal verliezen aan de liefde voor iemand waarvan je vrienden en/of familie je allemaal influisteren dat dit geen persoon voor jou is.
Om het in een cliché te zeggen “verliefd zijn maakt blind”.
De uitkomst blijft open: wat, wie heeft de waarheid in pacht?
Het nummer begint zwoel en soulvol met een refrein dat naar de hemel reikt om dan te eindigen in totale extase met een uitroepteken dat naar disco lonkt.

 
- kleurrijke 80's aerobics videoclip - 

 De muziekvideo van 'Fresh Water' dompelt zich onder in de wereld van de 80’s aerobics. Gefilmd in de Hobokense Blikfabriek laten acht uitgesproken personages zich volledig opgaan in de easy workout. De video is tevens het regiedebuut van leadzanger Gregory Frateur die zich liet omringen door een kleurrijke cast bestaande uit Jaouad Alloul, Anouck Luyten, Sjors Bral, Femke Heijens, Lucius Romeo-Fromm, Elif Korkmaz, Niek Kortekaas en Meron Verbelen.

​In de voorbije twee decennia hield Dez Mona nooit op het publiek te verrassen. Nog geen jaar na Lucy, een ‘werelds oratorium’ in samenwerking met het Antwerpse Baroque Orchestration X, komen zanger Gregory Frateur en zijn gezellen nu aankloppen met het kosmopolitische Loose Ends.
 
Op de negende langspeler van de groep wordt hoekige funk vaak afgewisseld met stuiterende discopop. "Na de donkere ballades uit ons vorige project, kozen we er bewust voor eens een opgewekte, rechttoe rechtaan-plaat te maken", vertelt Frateur. "Dit keer wilde ik me niet teveel uitputten in metaforen: de teksten mochten simpel en ‘in your face’ zijn".
 
Op compositorisch vlak gaf Gregory Frateur dit keer het stuur in handen van gitarist Sjoerd Bruil en accordeonist Roel Van Camp. Dat droeg ertoe bij dat Dez Mona op 'Loose Ends' uit zijn comfort zone trad en met een nieuwe sound begon te experimenteren. Zo speelt Van Camp op de nieuwe plaat vaker piano dan accordeon, is het aandeel van de elektronica toegenomen en bevatten sommige nummers ook ietwat bevreemdende, uitgesponnen instrumentale passages. "Sjoerd stopt inderdaad soms rare angeltjes in zijn composities", stelt de zanger vast. "Tijdens optredens nopen die mij ertoe me als zanger even opzij te zetten en helemaal op te gaan in de muzikale trip".
 
De nadruk ligt meer dan ooit op het ritme en de groove. Drummer Karel De Backer, de nieuwkomer in de band, geeft de muziek extra punch, terwijl de afwezigheid van een bassist op een ingenieuze manier wordt opgevangen door Bruil en Van Camp. "Op Loose Ends gaan we ‘back to basics", geeft Gregory Frateur toe.
 
Multi-instrumentalist Tijs Delbeke, die vele jaren deel uitmaakte van Dez Mona, maar inmiddels naar Balthazar verkaste, tekende voor de productie. Frateur omringt zich nu eenmaal het liefst met mensen bij wie hij zich op zijn gemak voelt en die het DNA van Dez Mona in zich dragen.

- Live -
 
07/10/22: RONSE - CC De Ververij (Try-out) 

08/10/22: DIKSMUIDE - 4AD (Try-out) 
 
13/10/22: HASSELT - Café Café (Try-out) 

14/10/22: RIJKEVORSEL - De Singer (Try-out) 

19/10/22: BRUSSEL - Ancienne Belgique 
 
29/10/22: GENT - Handelsbeurs

04/11/22: KORTRIJK - Wilde Westen

16/11/22: ANTWERPEN - De Roma
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​JUNO Award-winning powerhouse singer-songwriter Crystal Shawanda is back with a new studio album, Midnight Blues, set for release September 30th on True North Records. This latest fiery bluesy Americana collection features the first single, “How Bad Do You Want It” — showcasing her full-throttle raspy voice, unmatched in today’s musical landscape, and an authenticity for the genre dating back to her youth. 
 
“Growing up, all of my favorite music had these breadcrumbs that led me to the blues,” Crystal says. “I often quote Willie Dixon: ‘Blues is the roots and everything else is the fruits.’ Even today's pop music, there's all this influence that derives from the blues. I was just always really attracted to the rawness and the realness of the blues.”
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​Produced and engineered in Nashville by her husband and long-time collaborator Dewayne Strobel, Midnight Blues — her eighth studio album, and fifth since switching from a chart-topping career as a country artist —  is a collection of original songs, such as the seductive-sounding rocker “Midnight Blues,” swampy dance-floor groove “Rumpshaker,” and gentler “Take A Little Walk With The Moon,” as well as covers of the Howlin’ Wolf classic, “Evil,” and her take on Celine Dion’s hit, “That’s Just The Woman In Me.”
 
“This is absolutely my favorite album I've ever recorded because I feel like my husband put me in a picture frame,” says Crystal. “He really captured who I am as an artist. He let my vocal shine. He brought out the best in me and all the songs that we wrote really capture my live show and who I am.” 
 
Born in Wiikwemkoong First Nation, on Manitoulin Island, in Northern Ontario, and raised in Sault Ste. Marie, Crystal was introduced to the blues by her eldest brother and to old-time country by her parents. “I was also into other styles of music that led me to the blues,” she says, citing everything from Elvis Presley’s “Hound Dog,” written by Big Mama Thornton, to R&B-pop star Monica’s “Misty Blue,” by Dorothy Moore. 
 
“I was one of those kids who read the liner notes,” Crystal says.  “I wanted to know everything: who are the songwriters, the musicians, the producers, the engineers. I always want to know who are the originators, who are the mothers of invention, who inspired all of us?  I’m a purist at heart, so I was always diving back to learn from the masters, like Etta James, as far as vocalists; Muddy Waters, as far as feeling; and Buddy Guy, as far as stylists who have a lot of swagger.”
 
And yet Crystal’s first foray as a professional singer was in country music, not blues.  She was in her early 20s and had immediate success after signing a U.S. record deal with RCA Nashville. 2008’s Dawn of a New Day, featuring the single “You Can Let Go,” reached No. 1 on the Canadian Country Album chart and No. 16 on the Billboard Top Country Albums, the highest charting album by a full-blooded Canadian First Nations country artist (in the SoundScan-era).
 
The following year she left the label and created her own, New Sun Records. Her first release was the holiday album I’ll Be Home For Christmas. Her next country album was 2010’s Just Like You, which won a 2013 Juno Award for Best Aboriginal Album, before she made the change to the blues with 2014’s The Whole World’s Got The Blues.
 
“I love all styles of music, but there was just always something drawing me to the blues,” she explains.  “I had a country hit on the radio, and I would show up at country music festivals and I'd do a BB King cover or Buddy Guy or Etta James. Within country music, as much as I loved it, I had to restrain my voice a lot. It's very hard to hold back, and sometimes it was exhausting, whereas with the blues, I could just let it fly.”
 
While other artists have been embraced when they’ve made the switch to a different genre — Taylor Swift from country to pop; Dallas Smith from hard rock to country; and Darius Rucker from pop/rock to country — Crystal doesn’t mind talking about the difficulties she’s encountered. 
 
“Country music is so excited when anybody from any genre comes to their world, hoping it'll make their world more popular. It'll up the cool factor, but switching from country to blues is a lot more difficult because the blues scene is very protective because it's such an original genre. They want it to be respected and preserved.”
 
She would’ve had an easier time if she had created a blues-influenced sound, like the Black Crowes, Sass Jordan or Alannah Myles, but Crystal can hold her own in any conversation about the blues pioneers. Still, she still likes to cover an iconic Canadian artist in her inimitable way. Last album, it was The Tragically Hip’s “New Orleans Is Sinking” and this time, Celine Dion. 
 
“Because I had so much friction coming to the blues where people were like, ‘You don't know nothing about the blues,’ I'm trying to show them not to be so close-minded because a lot of people are more inspired by the blues than they may realize. Again, I'm trying to reiterate that quote by Willie Dixon that the blues is roots and everything else is the fruit.” 
 
Midnight Blues will be released worldwide on September 30, 2022.

Slecht nieuws voor de fans van Limp Bizkit. De rockband, die op zaterdag 20 augustus op Pukkelpop zou spelen, annuleert zijn volledige tournee door Europa en het Verenigd Koninkrijk. Frontman Fred Durst (51) kampt met gezondheidsproblemen en mag voorlopig niet optreden van zijn dokters.

​Dat maakt de band zelf bekend via sociale media, waar Durst een video deelde. “Ik heb wat onderzoeken laten uitvoeren om te kijken of ik gezond ben. Tot mijn verbazing zei de dokter dat hij niet wil dat ik ga toeren en dat ik in de buurt moet blijven voor verder onderzoek.” De zanger noemt het nieuws “onverwacht” en “hoopt op het beste”. “Weet dat alles weer goed gaat komen. Ik kijk ernaar uit om het met jullie goed te maken.”
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Ook op de kanalen van de band werd een boodschap gedeeld: “Vanwege persoonlijke gezondheidsproblemen en op basis van medisch advies van mijn persoonlijke arts om onmiddellijk te stoppen met toeren, zal Limp Bizkit helaas hun Britse en Europese tournee moeten uitstellen”, klinkt het daar. “We bieden onze oprechte excuses aan voor het eventuele ongemak dat dit kan veroorzaken bij onze trouwe fans, promotors en ondersteunend personeel. Stand-by voor meer nieuws. Met vriendelijke groet, Fred & Limp Bizkit” (Bron: HLN)

​Juliaan Deckx, de echte naam van de volkszanger, is onverwacht overleden in de nacht van 17 op 18 juli, zo meldt zijn familie. “Zijn overlijden kwam totaal onverwacht. De familie is diepbedroefd, maar tegelijk dankbaar voor het mooie leven dat hij mocht leiden, met de steun en support van zovelen.”
Juul Kabas begon in het orkest van zijn broer Marc Deckx en zorgde daarbij voor de komische noot tot hij zelf zijn eerste hit scoorde. Zijn bekendste nummers zijn ‘Ze noemen mij de Juul Kabas’ uit 1969 en ‘’t Zijn zotten die werken’ uit 1979.

​Zijn dertigjarige carrière werd in 1999 gevierd. Hij heeft jaren samen met zijn echtgenote café/taverne ‘t Lindenhof achter de kerk van Retie uitgebaat. In 2009 werd hij opgenomen in de eregalerij van Radio 2 voor een leven vol muziek.
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WADE SAPP DROPS "THE BOYS WE WERE" FEATURING COLTER WALL'S DISTINCT BARITONE AHEAD OF HIS DEBUT ALBUM RELEASE JULY 29
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Wade Sapp dropped a new single today, "The Boys We Were" ahead of his July 29 album release, Radio Check. Penned by Wade, this song tells the true story of how his brother ended up in prison and features Colter Wall's one-of-a-kind gruff voice playing the friend that talked the fated brother into committing the crime. This single is the final drop before fans will be able to hear Wade's debut 11-track release in full. As the sole writer of nearly his entire album, Wade's storytelling knows no bounds and introduces him to the public as an edgy, neo-traditional artist that is here to stay. 

"This song is about me and my brother; who we were before, who we are now and who we may be after his incarceration," says Sapp.

In the cobwebs of my abused brain it was north caroline
The last time that I saw his face ‘fore he pissed away his prime
No matter how I try to fight he drops into my dreams
The nightmare veers towards violence
And I’m awakened by the scenes
And to think

Radio Check is an introduction to the different sounds and influences fans can expect from Wade moving forward. Wade's previous singles leading up to his album have received support from various press outlets, and fans are excited to finally be able to listen to the music they have fallen in love with at his live shows. To stay up to date with Wade, please visit wadesapp.com or follow him on Instagram, TikTok, Facebook, YouTube and Twitter. 

Radio Check Track Listing:
1. S.O.B (Wade Sapp)
2. Beer Drinkin' Blues (Rocky Bill Ford)
3. Recently Single (Wade Sapp)
4. Keep On Truckin' (Wade Sapp)
5. Radio Check (Wade Sapp)
6. The Boys We Were ft. Colter Wall (Wade Sapp)
7. Smoke (Wade Sapp)
8. Angeline (Wade Sapp)
9. Bleeding Blue (Wade Sapp)
10. Ten Women (Wade Sapp)
11. At Ease (Wade Sapp)
 
About Wade Sapp
Wade Sapp is making authentic country music for a new generation. While steeped in tradition, Sapp blends influences from rock, folk and soul into his songwriting. At the age of 8, moving from the small south Florida town of Okeechobee to suburban Marietta, GA was a big change. But it was then Wade was exposed to more styles of music and eventually taught himself how to play guitar. As he got older, he started a band and began playing bars and clubs around Atlanta, eventually expanding to the southeast. After 7 years of paying his dues in the region, he decided it was time to take the next step in his career and make the move to Nashville. Since relocating in 2016, Wade has established himself as one of country music’s most exciting and promising stars. Over the past few years, he has played all over the U.S. opening for Colter Wall as well as perfecting his show on headliner dates. Now at long last, Wade is gearing up to release his debut album Radio Check in 2022!

He possessed an iconic voice, and was the recognizable lead singer on a string of R&B ballads that have survived a half century and are now revered as classics of the genre. Today we mourn the passing of Delfonics co-founder and longtime lead singer William "Poogie" Hart. He was 77.
Among the first purveyors of the smooth, orchestral sound that would come to typify Philadelphia soul, the Delfonics established themselves as one of the quintessential soul groups of the late 60s and 70s and created some of the most notable songs of that era.
Formed in the early 1960s in Philly by brothers William "Poogie" and Wilbert Hart and schoolmate Randy Cain, the Delfonics established a reputation as a solid young vocal group and William Hart as a fine young songwriter.  They signed with local Cameo-Parkway Records and released a number of singles on that label and on small MoonShot Records, none of which received much attention outside of Philadelphia.  Then the group became one of the early acts to team with young producer/arranger Thom Bell, and the combination struck immediate pay dirt on Bell Records.  They hit both the Pop and Soul top five in 1968 with the Bell/William Hart composition "La La Means I Love You," a now-classic soul ballad highlighted by William Hart's plaintive falsetto lead.
More hits followed over the next few years, including the memorable "Ready Or Not Here I Come," "You Got Yours And I'll Get Mine" and their other top ten Pop hit, "Didn't (I Blow Your Mind This Time)," which won the 1970 Grammy Award for Best R&B Performance. Cain had trouble dealing with the group's sudden success, and left the group in 1971. He was replaced by Major Harris (who later scored a #1 solo hit with "Love Won't Let Me Wait").  Due to the bad contract that the group had signed with its label, which affected the ownership rights to the songs, Bell stopped working with the Delfonics and began his emergence as one of the great producers and arrangers of the era, later scoring a string of hits with the Stylistics, the Spinners, Deniece Williams and more.
The Delfonics continued to hit the lower ends of the Soul charts through the mid-70s, when Harris left for a moderately successful solo career. The Hart brothers split due to a financial dispute and each formed his own version of the Delfonics. Over the next 30 years, the two versions of the group reconfigured in multiple ways, often with varying combinations of former members (including Harris, Cain, each Hart brother) and others, until the death of Cain in 2009 and of Harris in 2012, Wilbert Hart has continued to tour with new members as The Delfonics Review. Sadly, the Hart brothers never reunited, despite the great desire by fans for them to do so.
William Hart continued both as a solo artist and with his own version of The Delfonics. In 1999, he teamed with Harris and former Futures member Frank Washington (later the lead singer for the Spinners) to record Forever New on Volt Records, working with producer Preston Glass. It received some critical notice but failed to chart. He followed with the solo album Fonic Zone in 2005 (to coincide with his wife's book of the same year) and a few years later he teamed with Ted Mills of Blue Magic and Russell Thompkins Jr of the Stylistics to release The Three Tenors of Soul on Shanachie Records.

​William Hart was an all-time great tenor singer, and one of the foundations of Philadelphia soul. His contributions to the musical world - and the echo of that sweet voice - will be long lasting.

Het Australische vijftal van de ‘energetic, punky and psychedelic’ rock band The Murlocs opereert vanuit Melbourne en “Rapscallion” is alweer hun zesde studio-album. Met leden uit bands als Orb, King Gizzard & The Lizard Wizard, Crepes en Beans kun je The Murlocs waarachtig een ‘dynamic musical collective’ noemen en ‘strapped with fuzzy guitar licks, feverish bass-lines and psychedelic brightness’ bevat hun nieuwe album ‘an ultimate mix of bluesy feelgood, laidback stoner, fun punk and catchy 60’s tinged rock’!
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​The sixth full-length from The Murlocs, “Rapscallion”, is a coming-of-age novel in an album form, populated by an outrageous cast of misfit characters: teenage vagabonds, small-time criminals, junkyard dwellers and truck-stop transients. Over the course of 12 hypnotic and volatile rock-and-roll songs, the Melbourne-based five-piece dream up a wildly squalid odyssey partly inspired by frontman Ambrose Kenny-Smith’s own adolescence as a nomadic skate kid. The most magnificently heavy work yet from The Murlocs, the result is an endlessly enthralling album equally steeped in danger and delirium and the wide-eyed romanticism of youth.
 
Self-produced by the band in the early stages of the pandemic, “Rapscallion” was recorded remotely in the home studios of Kenny-Smith (vocals, guitar, harmonica), Callum Shortal (guitar), Matt Blach (drums), Cook Craig (bass), and Tim Karmouche (keys). In a departure from the effusive garage-rock of 2021’s “Bittersweet Demons”, the album’s musical DNA contains strains of stoner-rock and the more primitive edge of post-punk, thanks largely to Shortal’s influence as the primary composer on “Rapscallion”. But despite that darker and more formidable sound, The Murlocs instill every track with the freewheeling energy they’ve brought the stage in supporting such acts as Pixies, Stephen Malkmus, Ty Segall and Thee Oh Sees.
 
The Murlocs is a truly dynamic musical collective; all five members also perform in other bands: Kenny-Smith and Craig each play in the globally beloved King Gizzard & The Lizard Wizard, Shortal plays guitar in Orb, and Karmouche and Blach are frontmen for Crepes and Beans, respectively. For The Murlocs, the making of “Rapscallion” marked both a major creative leap and a welcome reminiscence of their own youthful exploits. “As a kid I was out the door as soon I could, just chasing new experiences, and it felt good to look back on all these wonderful memories of that time - although there were certainly a lot of very dicey moments too”, says Kenny-Smith. “It was exciting to write in a different way rather than coming up with 12 songs about my anxieties, to live vicariously through that character and get back to a feeling of exploration. I hope when people hear the album they really dig deep into the world of the story we’ve created, and it gives them that same sensation of traveling into the unknown”.

​On September 3, 2017, attendees at the Detroit Jazz Festival witnessed a very special one-time-only event: a historic set by a multi-generational jazz supergroup composed of Wayne Shorter, Terri Lyne Carrington, esperanza spalding, and Leo Genovese. Some five years later, fans will finally have the opportunity to experience this magnificent performance when Candid Records releases "Live At The Detroit Jazz Festival" on Sept 9, 2022. The recording will be released on high-quality vinyl, CDs and all digital formats. The vinyl edition includes the exclusive bonus track: ‘The Stuff That Dreams Are Made Of (A Conversation)’.

 
In a testament to the level of trust and respect shared between these great artists, Shorter, Carrington, Genovese and spalding had a mere outline of how the music might evolve when they took the stage, choosing instead to leave space for spontaneous expression.
Terri Lyne Carrington remembers, “We rehearsed some themes earlier that day, but the preparation was really from our lives and profound experiences with each other.”  Four lifetimes in music — spread across generations — made these performances possible, erasing the boundaries between composition and improvisation, ensembles and solos in the process.
 
Whether it is the Shorter and spalding composition 'Endangered Species' (a landmark of mood-shifting free-form exploration), Maria Rita’s thoughtful ballad 'Encontros e Despedidas,' Geri Allen’s 'Drummers Song,' or Shorter’s haunting 'Midnight In Carlotta’s Hair,' the quartet’s interplay is spontaneous, assured, magical.
 
ABOUT THE ARTISTS: 
Wayne Shorter — who many consider to be jazz’s greatest living composer in addition to being a distinctive and innovative stylist on both tenor and soprano — has contributed inventive solos and innovative compositions to three history-making musical institutions: Art Blakey’s Jazz Messengers (1959-63), the Miles Davis Quintet (1964-70), and Weather Report (1971-86), co-founding the latter with Joe Zawinul.
 
Shorter sums up the Detroit concert in his own special way: “With the mixture of people — male and female, varying ethnicities and backgrounds — sometimes we did things that sound larger than the four of us, with more of an orchestral approach. If there are things going on in the recording that can be heard by people to the extent that it can turn some thoughts around about life and culture… people who hear it may recognize that we are all different — and the same.”
 
Terri Lyne Carrington began playing drums when she was seven, performed with pioneering jazz flugel hornist Clark Terry at ten, and was awarded a scholarship to the Berklee College Of Music at age eleven. Her list of credits includes the likes of Lester Bowie, Stan Getz, Woody Shaw, David Sanborn, Cassandra Wilson, Dianne Reeves, and Herbie Hancock. As a bandleader, Carrington’s triple decade-spanning repertoire includes the Grammy award-winning album "The Mosaic Project, Money Jungle: Provocative In Blue," and her Grammy-nominated set with Social Science titled "Waiting Game." Carrington currently serves as Founder and Artistic Director of the Berklee Institute of Jazz and Gender Justice.
 
Carrington first recorded with Wayne Shorter on 1987’s Joy Ryder, and is on the esperanza spalding albums 'Chamber Music Society' and 'Radio Music Society,' along with Leo Genovese on piano. "Live At The Detroit Jazz Festival" is the first of a number of new Terri Lyne Carrington projects to be announced soon.
 
esperanza spalding’s breakthrough came with her sensational second album, 2008’s "Esperanza," and in 2011, she won the coveted Grammy Award for Best New Artist. Since then, she has played with Joe Lovano, McCoy Tyner, Fred Hersch, ACS (a collaboration with Terri Lyne Carrington and Geri Allen), and has since led such albums as "Chamber Music Society," "Radio Music Society," "Emily’s D+Evolution," "Exposure," "12 Little Spells" (Grammy win for Best Jazz Vocal album), and "Songwrights Apothecary Lab" (Grammy win for Best Jazz Vocal Album).
 
spalding’s music, like that of Carrington and Shorter, has never fit into a simple category. Of her night playing with Shorter, Carrington and Genovese, spalding says “That night in Detroit, when we felt ourselves lift-off musically, I learned a different definition of flying, of building while flying, and of ‘we.’”
 
Leo Genovese was born in Argentina, first played piano when he was five, and studied at the University of Rosario and the Berklee College Of Music (where he eventually taught at the astounding age of 20). He made his recording debut in 2003 and has led such albums as "Haiku II," "Unlocked," "Seeds," "Rituals" and "Sin Tiempo." Genovese has also recorded with a large assortment of artists including Jason Palmer, Andre Matos, Francisco Mela, Michael Feinberg, Sara Serpa, Dave Zinno, Dan Blake and Leni Stern.
 
“Wayne, Terri Lyne and Esperanza are musical superheroes in all places and in all times,” Genovese says of the admiration he holds for his fellow quartet members. “To be able to share sound, to learn from them and to feel them as friends is a blessing.”
 
This performance is dedicated to the memory of pianist and composer Geri Allen, who was originally to be a part of the group but passed away in June of 2017.
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Canadian Roots Blues duo Blue Moon Marquee announce a September 9th release date for  their latest CD, Scream, Holler & Howl, on their own Blue Moon Marquee Music label.  The new CD was recorded at Afterlife Studios.in Vancouver, British Columbia, and produced by the band, along with multi Blues Music Award-winner Duke Robillard and Erik Nielsen. Scream, Holler & Howl shines a bright spotlight on the prodigious talents of A.W. Cardinal (vocals and guitar) and Jasmine Colette (upright bass/vocals), along with guests Darcy Phillips - piano, Hammond organ; Jerry Cook - tenor and baritone sax; Matt Pease – drums; Paul Pigat – guitar; Bonnie Northgraves –trumpet; and Señor Erik –tambourine. Duke Robillard adds his stellar guitar work on several tracks, too. The album’s “Baker’s Dozen” 13 tracks include 11 original songs, plus two distinctive takes on songs written by the legendary Lonnie Johnson: “Another Night to Cry” and “Long Black Train.”
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“To say A.W. and Jasmine are old souls is an understatement to say the least,” says co-producer and legendary guitarist Duke Robillard in the album’s liner notes. “They are poised for worldwide recognition in an amazing genre-bending ride through American blues and folk, gypsy jazz, Native American themes, jump blues, swing and more. These century-old traditions have been redefined and delivered in a new light here. They are astounding in their depth, groove and soul on this recording. Written, played, and recorded here in a heartfelt and natural old-school way for the world to hear, feel, dance, drink or be alone with. For me, working with them in the studio was inspiring and a re-confirmation of my own belief in the power of roots music. Special thanks go out to Afterlife Studios, with their long history of great recordings and real echo chambers, vintage gear, and great engineer Erik Nielsen, who converged magically with all these musicians to make some damn memorable music.”
 
Blue Moon Marquee writes and performs original compositions influenced by anything that swings, jumps or grooves.  A.W. Cardinal (vocals/guitar) and Jasmine Colette - a.k.a. Badlands Jass (vocals/bass/drums) - have played for a vast gamut of crowds at jazz clubs, Lindy Hop dance halls, folk venues, blues haunts, hospitals, prisons, markets, motorcycle joints, dive bars and prestigious festival stages.
 
Jasmine Colette not only commands the upright bass, but also brings the rhythm with her feet on a custom foot drum kit, all while singing in her signature honey-dipped tones. Cardinal’s distinctive and soulful vocals barrel out like a raging bull, while his guitar crackles with the swinging energy of jazz-tinged blues.
 
The result of nine years of rigorous touring, crisscrossing Europe and North America is a distinct energy and style from this acclaimed duo. Carving a path through blues, jazz, jump jive, folk, country, swing and Indigenous soul with an authentic spirit, their sound does not idle easily in one certain category. It stomps and struts through the wilds, conjuring a blend where Howlin’ Wolf tangos with Django, Earnest Tubb shoots firecrackers with Cab Calloway, and Memphis Minnie throws dice with Screamin’ Jay Hawkins.
 
Their gift is bringing all these elements together without anything sounding out of step. They collect the roots and smoothly braid them with lyrics that often touch on the underbelly of society, woven with elements of Indigenous storytelling and poetic cadence.
 
"Blue Moon Marquee have their own completely original style. Modern Blues doesn't really get any better than this. This is a tremendous sound by a hugely talented duo,” says American Roots UK.
 
With their highly-anticipated 5th album Scream, Holler & Howl, Blue Moon Marquee have captured their most sophisticated collection of songs yet. Recorded live to tape, SHH blazes forward with a full band featuring some of Canada’s finest veteran players. While they have primarily performed as a duo since 2013, over the last couple years Blue Moon Marquee have been performing often as a trio or quartet with Darcy Phillips (Jann Arden) on piano and Jerry Cook (Colin James) on tenor and baritone saxophone. 
 
With 2019’s Bare Knuckles and Brawn, they were nominated as Blues Artist of the Year at the Western Canadian Music Awards and Indigenous Songwriter of the Year at the Canadian Folk Music Awards.
 
With a “totally unique approach…such a powerful original mix of swing styles with jazz and blues, west coast swing and New Orleans feel” (Sound Guardian) the record topped both the Earshot National Folk/Roots/Blues Charts simultaneously with the National Jazz charts, a rare feat. Starring standout vocals and catchy hooks that speak to music lovers, BNAB instantly charmed first-time listeners and thrilled longtime fans.
 
News about the band was spreading from heavy touring and old-fashioned word-of-mouth. As word spread, so did interest from talent buyers, allowing Blue Moon Marquee opportunities to open for a range of artists like Lisa Fischer and Mary Chapin Carpenter.
 
Appreciated for their lyrical candor, outstanding musicianship and vivacious live performances, Blue Moon Marquee was the most-requested band in the country for the Canadian International Jazz Festival Circuit following their 2017 release, Gypsy Blues. That full-length album of original material also garnered the Indigenous Artist of the Year nomination from Western Canadian Music Awards as well as Best New Artist nomination at the Maple Blues Awards.
 
Gypsy Blues was an ode to their deep influences of jazz manouche and vintage blues, infused with verse having a penchant for poet characters and a heavy dose of atmospheric textures, “Blue Moon Marquee harnessed the best of vintage music that’s practically a century old and brought it into modern times. It’s part haunting, part joyous, and sneakily infectious” said Jim Hynes of Elmore Magazine.
 
Born of the wild rose country in Alberta, Canada, both Cardinal and Colette played in punk, metal and rock and roll bands. Leaving home at a young age, they both spent years traveling on their own, working a variety of jobs and touring with different acts. At one point Colette was hitchhiking throughout North America performing vaudeville with her act of hula hooping, skateboarding and playing trombone simultaneously, while Cardinal was living in New York City working as a bike mechanic and performing at open mics every night.
 
It was in 2012 that they came together in Vancouver, B.C., to record Cardinal's original material for his album, Stainless Steel Heart, which he had written while living in Montreal. A mutual old friend was engineering the project and they connected deeply on their taste and obsession over music.
 
The vast répertoire of this band is a reflection of bounteous years on the road, experiencing life through a wide diversity of lenses. The result is their trademark blend that pulls the different parts of their musical worlds together, taking the tones of early blues, the expressions of jazz, the heart of country, the spirit of folk, the swagger of soul and the rhythm of roll. The way Colette's velvet tones lift Cardinal's mystique is something that enthralls audiences from backroom bars to festival stages.
 
Unbound by genre or era, Blue Moon Marquee has an edge that demands you take notice. With an authentic mixture of tempo, melody and imagery, they are timeless artists perfect for this time. 

Prolific space rock band Hawkwind return with a brand-new live album. Choosing the best cuts from their recent live dates across the UK, We Are Looking In On You is an all-encompassing release that celebrates their legendary past alongside their critically acclaimed new music.

We Are Looking In On You superbly captures highlights from Hawkwind’s illustrious canon, including Levitation, Spirit Of The Age, Hurry On Sundown, Right To Decide and Space Is Deep, all sitting seamlessly alongside current classics such as Unsomnia, Cave Of Phantom Dreams and It’s Only A Dream from 2021’s acclaimed studio album Somnia.

A must-have for any Hawkwind fan, We Are Looking In On You is presented as a 2CD set with vinyl to follow later in the year, and is the latest installment from Hawkwind, (Dave Brock, Richard Chadwick, Magnus Martin, Doug MacKinnon and Tim "Thighpaulsandra" Lewis), as they continue on their galactic journey. 
 
DISC ONE
1 Magnu
2 Cave Of Phantom Dreams
3 Unsomnia
4 Uncle Sam’s On Mars
5 Usb1
6 Spirit Of The Age
7 It’s Only A Dream
8 Peace
9 Right To Decide
 
DISC TWO
1 Levitation
2 Brainstorm
3 Neurons
4 In The Beginning
5 Hurry On Sundown
6 Born To Go
7 Star Explorer
8 Space Is Deep
9 It’s Not Unusual
10 The Watcher