SOME NEW RELEASES OF INTEREST...

VERONICA FERREIRO - LAIO

A soul set from Spain – a really sweet debut from Veronica Ferreiro, a singer with depth to rival the best of the American underground! There's a surprisingly non-commercial feel to the music – nicely laidback production, and strong traces of jazz that really make the backings sparkle – and match the great range that Veronica brings to her music – making for a blend that's a lot like some of our favorite Neo Soul albums from the early years of the genre in the US! Lyrics are partly Spanish, partly English – and on the latter, Ferreiro comes across with a sensitive quality that could well have her reaching a wider audience over the next few years. Titles include "Floating Lovers", "Non Quero Crer", "Riverside", "Laio", and "Please Don't Fall In Love".

LATINMUSIK – EDITOR’S CHOICE VOL 3

Contemporary salsa from around the globe – a really excellent series that brings together tracks we really would have missed otherwise! The music here comes from a surprisingly wide range of sources – artists from familiar Latin spots like the US, Colombia, Costa Rica, and Venezuela – plus surprising entries from Germany who really stand up next to the other groups. Music is great throughout – a real dedication to

the kind of classic salsa sounds from the 70s onwards – with heavy percussion, and lots of jazzy instrumentation throughout! Titles include "Piedra Papel Tijera" by Humberto Vargas Y Son Tikizia, "Estamos En Clave" by Rene Rodriguez, "No Te Metas Conmigo" by Susie Hansen, "Lo Que Tu Te Mereces" by Sin Miedo, "This Is Not A Tango" by Juju Orchestra, and "Latin Brother" by Una Mas Trio

JUSSI LAMPELA NONET WITH JUKKA ESKOLA – LAMPELA ESKOLA

Brilliant – and another out of the park winner from the Ricky Tick label! There's a solid, soaring jazz feel here all the way through – an approach that takes the larger ensemble mode of the late 40s "birth of the cool" generation, then forges it onto the leaner, modal-styled sounds that we've come to love from Ricky Tick – a wicked blend that has plenty of appeal to straight jazz fans, but which also brings a fresh sort of energy to the music for the 21st Century! The group's led by arranger Jussi Lampela, but features killer trumpet from Jukka Eskola and baritone and sax from Timo Lassy – both artists you'll know from their own Ricky Tick releases. Titles include "Half Lament", "Driving And Cruisin", Strolllin", "Way Ahead""Together We Went", "Different Angle", and "Afternoon In Central Park". 9 tracks on the CD.

KENNY WELLINGTON – IN RETROSPECT

Warm, diverse jazzy soul from trumpet player Kenny Wellington – a pivotal player in British scene from the late 70s onward – demonstrating the depth of his talent and his range of styles! Kenny is a founding member of Light Of The World and Beggar & Co – and he's worked with a who's who of some of the great jazz & soul players from the US & UK. A wealth of classic and timeless jazz funk, some fusiony numbers and a bit of smooth soul. Players include vocalists Camelle Hinds and Gee Morris, sax and flute by David Baptiste, trombone by Harry Brown, keys by Toby Baker and Luisimi Falles, bass by Frank Felix and Otto Williams, guitar by Breeze McKrieth and drums by Billy Osborne. Includes "Bahia", "Let's Get Dizzy", "Free Your Mind", "Chill", "Strand Strong", "Oli Ay", "The Mysterious Traveller", "Rain Dance", "Free 'N'Easy", "The Shake Down", "In Retrospect", "Wait Until Tomorrow" and more. 15 tracks in all.

SOLA ROSSA – GET IT TOGETHER

Some of the funkiest grooves we've heard from the New Zealand scene in years – a great mix of live instrumentation and programmed beats and samples – very much in the best Melting Pot mode, but even funkier than usual! Some cuts feature vocals – as the album includes guest work from Bajka, Spikey Tee, and Iva Lamkum – and the mix of modes is great – and reminds us of some of the earlier funk from the Tru Thoughts scene! Titles include "The Ace Of Space", "Love Alone", "Humanized", "Turn Around", "Del Ray", "Lady Love", and "Bond Is Back".

SWEET CATERINA –
VINTAGE COCKTAIL BEAT

The beat here is a bit less vintage than you might guess from the title – but Caterina definitely keeps things sweet – and the album's a nice batch of groovers that really keep up the best side of the Irma sound! Vocals are in Italian, and the rhythms are never too clubby – kind of a mix of retro styles and contemporary dancefloor modes that are just perfect for Caterina's style of singing done with echoes of the 60s and 70s Italian scene, yet served up in a way that's definitely 21st Century overall! A nice comeback from Irma, and a set that reminds us of their sound a decade ago – with titles that include "Eclisse Twist", "Un'Estate Fa", "Splendido Splendente", "Rumore", "La Notte", "E La Luna Busso", and "Parole Parole".

MARIA RITA - ELO

Easily the best record so far from Maria Rita – a set that really pushes her talents a lot, and reaches for a wider range of expression! The vocals are still very much at the forefront – that great legacy from mother Elis Regina, with a similar heavenly approach that works with just about any sort of lyric – but the backings shift things around a good bit, too – moving between full, lush orchestrations, and some gentler, jazzier modes – and even a few cuts that have a lively sense of rhythms. Maria's great throughout – clearly standing strongly on her own, even without the family pedigree – on tunes that include "Santana", "Conceicao Dos Coqueiros", "So De Voce", "A Outra", "Nem Um Dia", and "Pra Matar Meu Coracao". US version features the bonus track "Coracao Em Desalinho".

SHARON JONES & THE DAP KINGS –
SOUL TIME

Damn damn damn – maybe the funkiest album ever from Sharon Jones and The Dap Kings! The group have always been great, but there's something here that goes even farther than usual – an especially funky snap on the drums at the bottom, even on more laidback tunes – and a stone classic approach to funky soul, one that's definitely been honed to a "T" through their important work on the road during the previous few years! And Sharon Jones is great – with vocals that are way deeper and much longer-lasting than any rehab outpatient wannabe – sending home these tunes with a quality that may well pass most of her classic female soul inspirations from back in the day. And even though the set brings together some older singles and other odd bits, it's got a rock-solid punch that makes it a very unified album throughout! Titles include "Settling In", "I'm Not Gonna Cry", "When I Come Home", "Ain't No Chimneys In The Projects", "New Shoes", "Without A Trace", and "Inspiration Information".

KINGDOM AFROCKS - FANFARE

Plenty of fanfare here – given the great horns that top the groove of Kingdom Afrocks! The ensemble have a Afro Funk vibe that's mighty nice – one that's slightly askew, but in the best way possible – with some cool flat-toned electric piano running ragged over the rhythms, while the horns soar in over the top, and really give the whole record a bold dose of energy in the process! Rhythms really know when to break from the familiar at all the right moments – never sticking too straightly in a 70s Afro Funk mode, and instead going for some bold changes that really keep things interesting – and grooving as well! Titles include "Voodoo Grease", "Will To Live", "Typhoon", "Fanfare", "Escucha", and "Baila Y Goza".

GEORGIA ANNE MULDROW –
OWNED TO MAMA RICKIE

Georgia Anne Muldrow pays tribute to her mother, Rickie Byars Beckwith, a musician and all around artistic force herself on Owed To Mama Rickie – Ms. Muldrow's second album from Animated Cartunes (out of who knows how many surprisingly great albums in the preceding few years) – and quite appropriately, it's among her most spiritual and soulful efforts to date! Georgia is one of those very rare modern funk, soul and hip hop figures, along with the mighty Madlib, with an indefatigable creative energy and who has yet to disappoint. You had to figure that she'd bring her deepest sensibilities for an album as close to her heart as Owed To Mama Rickie, and she does just that. Searching, spiritual lyricism shines this time out – with 4 tracks that share writing credits with Michael & Rickie Byars Beckwith – but there's still quite a bit funk in the production. Honestly, if she's gonna put records out even half this good each time out, we're hoping she continues to drop a couple or three albums a year! Includes "Zulu (The Mind)", "Dr. Feelgood", "EZ Duz It", "Mother, Father, God", "The Jump Rope Song", "The Key", "Love Letter", "Whollyspirit", "Dubby Time!", "More & More" feat Bilal (plus a bonus track remix by our friend Terry Cole of Colemine Records) and "Moonsong Lullabye".

Source: Dusty Groove America

BIG BROTHER AND THE HOLDING COMPANY FEATURING JANIS JOPLIN - LIVE AT THE CAROUSEL BALLROOM 1968

Columbia/Legacy Recordings has announced the release of Live at the Carousel Ballroom 1968, a previously unavailable live concert recording of Big Brother and the Holding Company featuring Janis Joplin, recorded June 23, 1968 by legendary soundman Owsley Stanley, a/k/a "Bear," who supervised the mastering of this release before his fatal car accident on March 12, 2011, in his adopted homeland of Australia. The release of the album marks the one-year anniversary of his passing and is dedicated to Bear.

"Care was taken to preserve and ensure the integrity of the music as well as to present an accurate snapshot of the masterful talent of one of the greatest singers of her generation and one of the hottest live bands in the San Francisco scene," wrote Bear's widow, Sheilah Stanley, in her dedication to Live at the Carousel Ballroom 1968. "This is Bear's vision -- how he heard the band live, and how he wanted to transmit that to you... this truly is Bear's presentation of this phenomenal band and inspirational music."

Cited by San Francisco rock scribe Joel Selvin as "truly one of the fathers of today's concert sound systems," Owsley Bear Stanley "supervised the sound at the Carousel Ballroom, a former big band dance palace at the corner of Market and Van Ness in downtown San Francisco that, for a few brief, glorious months in 1968 was operated by a collective formed by the Dead, Jefferson Airplane, Quicksilver Messenger Service and Big Brother and the Holding Company, a social/musical laboratory experiment akin to inmates running asylums, whose six-month run may well have corresponded with the height of the whole '60s Haight-Ashbury/San Francisco thing...."

An essential and pivotal figure in the San Francisco counter-cultural scene, from beatniks to hippies to beyond, Bear began mixing live sound with the Grateful Dead in 1966 and ran the sound system for the Carousel until Bill Graham took over and rechristened it the Fillmore West in the autumn of 1968. From his first days with the Dead, Bear would record the shows he was involved with as a way to improve his live system set-ups. Bear's "sonic journals" are generally regarded as the gold standard for live concerts from the psychedelic era.

"What is key about these moments captured by Owsley is that they're a true representation of what this mythic band really sounded like live," notes rock scribe Jaan Uhelszki in her essay on Janis and Big Brother's enduring ability to astound and surprise. "The rough magic, the explosive synergy, the dangerous frisson of boundaries being demolished between artist and audience....these 14 songs are a testament to what a force of nature Janis Joplin and Big Brother and the Holding Company was during these two nights at the Carousel Ballroom. Showing them at the zenith of their considerable power, it is so fortunate that this recording was ever made -- only two months before their break up. This is one of the few living documents of that propitious and monumental pairing."

"He viewed these recordings as windows into the past," wrote Bear's son, Starfinder Stanley, in his notes for Live at the Carousel Ballroom 1968. "So this is not just a live recording of Janis Joplin singing with Big Brother and the Holding Company. This is an auditory portal that...can transport you back to the short-lived but incredible world of the Carousel Ballroom in 1968."

Big Brother and the Holding Company Featureing Janis Joplin -
Live at the Carousel Ballroom 1968
tracklisting
1. Combination Of The Two
2. I Need A Man To Love
3. Flower In The Sun
4. Light Is Faster Than Sound
5. Summertime
6. Catch Me Daddy
7. It's A Deal
8. Call On Me
9. Jam - I'm Mad
10. Piece Of My Heart
11. Coo Coo
12. Ball & Chain
13. Down On Me

Bonus Track:
14. Call On Me (Saturday Show - June 22, 1968)

PAN AM: MUSIC FROM AND INSPIRED BY THE ORIGINAL SERIES

Pan Am: Music From and Inspired By the Original Series, a collection of music from and inspired by the ABC television drama, slated for January 17, 2012 CD release from Verve Music Group, is a non-stop flight back to the early ’60s. The collection features 14 songs by Buddy Greco, Bobby Darin, Ella Fitzgerald, Stan Getz & João Gilberto with Antonio Carlos Jobim, Peggy Lee, Shirley Horn, Sergio Mendes & Brasil ’66, Billie Holiday, Count Basie, Brenda Lee, Connie Francis and Dinah Washington, plus new artists Grace Potter and Nikki Jean.

According to the Verve Music Group’s SVP of A&R Jay Landers, “The Pan Am series goes to great lengths to capture the dawn of the jet age with accuracy, and music plays a vital role. Many of the artists of the era are found in the classic Verve catalog so it was a great synergistic opportunity.” Also, S-Curve/Universal recording artist Nikki Jean sings the Lennon & McCartney classic “Do You Want To Know a Secret.”

The TV series Pan Am follows the travels of a young flight crew as they set off on international adventures at the dawn of the Jet Age in the 1960s. The show captures a time when only a few could experience a global adventure or gain a front-row seat to history. Those lucky enough flew Pan Am, the largest, most prestigious airline in the world. More than Coca-Cola, Elvis Presley or the transistor radio, Pan Am exported American culture to the world abroad and brought that world back to American shores. The crew travels to intoxicating cities such as Paris, Berlin, Monte Carlo and Rome and bumps into history along the way. Through their eyes, Pan Am revisits an era nearly half a century ago. So, buckle up . . . adventure calls . . . and thank you for choosing Pan Am.

Track List:

1. Buddy Greco – “Around The World”

2. Grace Potter – “Fly Me To The Moon”

3. Bobby Darin – “Call Me Irresponsible”

4. Ella Fitzgerald – “Blue Skies”

5. Stan Getz & João Gilberto w/Astrud Gilberto and Antonio Carlos Jobim – “The Girl From Ipanema”

6. Peggy Lee – “New York City Blues”

7. Shirley Horn – “The Best Is Yet To Come”

8. Sergio Mendes & Brasil ’66 – “Mais Que Nada”

9. Billie Holiday – “Just One More Chance”

10. Count Basie – “I Can’t Stop Loving You”

11. Brenda Lee – “Break It To Me Gently”

12. Nikki Jean – “Do You Want To Know A Secret”

13. Connie Francis – “Quando Quando Quando (Tell Me When)”

14. Dinah Washington – “Destination Moon”

New episodes of Pan Am will air starting January 8 at 10 p.m. ET/PT on ABC. The series stars Christina Ricci (“Penelope”) as Maggie, Margot Robbie (“Neighbours”) as Laura, Michael Mosley (“Justified”) as Ted, Karine Vanasse (“Polytechnique”) as Colette, Mike Vogel (“The Help, ” “Blue Valentine”) as Dean and Kelli Garner (“Going the Distance”) as Kate. Series creator Jack Orman (“ER, ” “Men of a Certain Age”), Thomas Schlamme (“The West Wing, ” “Parenthood”), Nancy Hult Ganis (“Akeelah and the Bee”) and Steven Maeda (“Lie to Me, ” “Lost”) are executive producers. Pan Am is produced by Jack Orman Productions, Out of the Blue Entertainment and Shoe Money Productions in association with Sony Pictures Television.

LATIN JAZZ - DENGA & EL MAJA - ROBIN JONES AND HIS QUINTET

The CD features 2 classic Latin jazz LP's (Denga and El Maja) that were recorded in the UK in the early 1970's featuring the Robin Jones Seven - a band comprising the leading exponents of the genre at the time. The 2 LP's were recorded live at CTS studios in London with no 'over-dubbing'. The recordings featured on this CD represent rare examples of Latin Jazz recorded in England where, with the possible exception of Kenny Graham (in the early 50's) there had been little or no Latin Jazz to speak of. However, Latin music had first become popular in England during the 30's with the Rhumba craze that followed worldwide success of 'El Manicero'. This was followed by the samba and conga dances of the 40's.While the music of New York bands lead by Tito Rodriguez, Machito, etc. were known to some in England during the 50's, it had not been as freely available and popular as that typified by George Shearing with his quintet line up. During the 60's, Brazilian music also became very popular through the recordings of Stan Getz and Sergio Mendes. However, until the formation of this band, the UK based Latin ensembles such as those led by Edmondo Ros, Roberto Ingles, although very popular, were only watered-down imitations of Latin Big bands in the US and more often that not, ignored many of the conventions of Latin music. These bands in an attempt to achieve broad popular appeal, favoured Latinised versions of tunes familiar to English audiences.

Robin Jones & His Quintet
Denga [03:19]
Goodbye Batucada [03:32]
Urubu [03:15]
Autumn [03:27]
Con Fuego [04:07]
Zapatos Amarillos [03:12]
Africa Revisited [03:14]
El Sueno [03:19]
Surfaticket [03:04]
My Summer Love [03:01]
Tristeza [03:16]
Sucio Mambo [02:36]

The Robin Jones Seven
El Maja [03:21]
Santa De La Luna [03:28]
Oya [03:03]
Atlas [07:05]
Batucada Da Vida [04:32]
The Wailer [03:20]
Chant Afrique [03:43]
El Lobo [03:04]
Carica Papaya [02:40]

SANDY BARBER - I THINK I'll DO SOME STEPPING ON MY OWN / DON'T YOU WORRY BABY

Records are made every day, released every week, and even with the best will in the world this means that scores of records are ignored or lost from the moment that they are pressed. However it is also true that the collector, the DJ and the fanatic are all out there looking for something that can lift their soul. So there is always hope that if your record is good enough, one day it will be discovered and revered. Artists as diverse as Terry Callier, David Axelrod and Vashti Bunyan have all benefited from this effect, and if there is any justice in the world so should Sandy Barber’s album The Best Is Yet To Come.

Born in New York City on June 8th 1955, Barber grew up and attended school just across the river in Englewood New Jersey. With the encouragement of her big family she was singing from an early age at any events that would have her. As a teenager she came second at the legendary ‘Talent Night’ at the Apollo Theatre in Harlem. The Apollo was known throughout America as the premier venue of the African American circuit, and was infamous for its tough audience. Even stepping onto that stage was a challenge, but to finish in the top three was a serious achievement.

The appearance at the Apollo was heard by Chris Curry who arranged for Sandy to audition for David Jordan a producer who was working on a group called Rare Pleasure. He had a song called ‘Let Me Down Easy’ and felt that Sandy’s voice was perfect for it. The record released on Cheri Records became a club anthem – today probably better known for being sampled by David Morales on his hit ‘Needing U’ – with Sandy’s vocals perfectly capturing the songs pleading nature. Sandy didn’t enjoy working with a group and went out on her own soon after, a decision that was vindicated when a mutual friend introduced her to the producer, writer and record label owner Clyde Otis, who Sandy describes as ‘her mentor’. Otis liked what he heard and signed her immediately to the deal that would produce her album The Best Is Yet To Come.

When he signed Sandy he was bringing with him over a quarter of a century of knowledge and experience and he used it all in putting together the record. The vocal arrangements were handled by Tasha Thomas, the incredible singer who had made her name in the stage play of ‘The Wiz’, who recorded the wonderful ‘Shoot Me (With Your Love), at the time one of the hottest singers on the scene. The musical arrangements were by Nat Adderley Jr, son of the jazz trumpeter, and a brilliant keyboard player in his own right, who had recorded with the group Natural Essence on Fantasy.

The album opens with ‘Look Out Sky’ which lays out the stall for the whole album. A glorious uplifting soul song that benefits from the thoughtful arrangement that allows for plenty of space within the record for the voice to shine through. ‘I’ve Got Something Good’ has a pounding four to the floor rhythm and a great horn arrangement as Sandy tells about her good thing. Especially notable on this track is the vocal backings that mimic and sing along with the rising synthesiser part. ‘The First Time’ takes the tempo way down and is a jazz based ballad reminiscent of Marlena Shaw’s ‘Go Away Little Boy’, with a fine string arrangement. The first side ends with the fantastic ‘Don’t You Worry Baby (The Best Is Yet To Come), seven minutes of carefully arranged ecstatic soul. The record builds from a elongated intro, through some banked backing vocals to the full on song, before dropping into an instrumental middle section of strings and saxophone, and an improvised out-section where Sandy’s voice comes right back in.

The album has become sought after in recent years for the cut that opens up side two ‘I Think I’ll Do My Stepping At Home’, once more the rhythm section and its arrangement proves to be the perfect foil for Sandy’s love-worn but defiant voice. This is followed by the discofied version of the theme to ‘Wonderwoman’ the late 70s TV staple starring Linda Carter. This contrasts with the vibrant, but extremely jazzy ‘Can’t You Just See Me’ which rolls along on an astounding piano part and some bluesy guitar. The original album ends with the emotional overload of the second ballad of the album ‘Stay Here With Me’, a fitting showcase for Sandy’s voice.

‘Wonder Woman’ was lifted as a single, possibly in the hope that it would get sales on the back of the success of the TV series, and it was backed by a non-album B-side, ‘Remember Me’ another cut that could have sat very well on the album. Access to the master tapes at Otis’ Argon productions has allowed us to unearth four previously unreleased tracks including the lovely ‘Let’s Get Back Together’, that appear to have been recorded later, possibly for a follow up album for The Best Is Yet To Come.

Sandy continued singing, joining the group Blue Moderne who released records on Roll and Atlantic, before appearing solo as Sandy B on Vinylmania, Nervous and King Street amongst others. She lives in New Jersey and continues to sing in and around New York.

Out now is the single taken from the forthcoming album The Best Is Yet To Come - Deluxe Edition. It comes with instrumental and new mixes by John Morales and Al Kent.

I Think I'll Do Some Stepping On My Own b/w Don't You Worry Baby - Sandy Barber

I Think I'll Do Some Stepping On My Own - Sandy Barber

I Think I'll Do Some Stepping (On My Own)(John Morales Vocal Mix) -

I Think I'll Do Some Stepping (On My Own)(John Morales Alternative Mix) - Sandy Barber

I Think I'll Do Some Stepping (On My Own)(John Morales Instrumental Mix) -

I Think I'll Do Some Stepping (On My Own)(Al Kent's Classic Mix) - Sandy Barber

I Think I'll Do Some Stepping (On My Own)(Al Kent Disco Jam) - Sandy Barber

Don't You Worry Baby (The Best Is Yet To Come) - Sandy Barber

Don't You Worry Baby (The Best Is Yet To Come)(John Morales Vocal Mix) -

Don't You Worry Baby (The Best Is Yet To Come)(John Morales Jazz'd Up Mix (Instrumental))

BOSSA NEGRA - SUMMER SAMBA

Bossa Negra is a musical concept created by producers Howard Lee and Sérgio Luiz Brandão with the aim of making Brazilian music accessible outside of Brazil without compromising the integrity of the music. The result of this pioneering collaboration has resulted in the first ever studio recording of well-known Brazilian songs rearranged, reinterpreted and sung with Chinese and English lyrics. In addition to the project’s lyrical reinterpretation of well-known Brazilian songs, the producers have also created the first ever fusion of Chinese, Australian and Brazilian music into one album. By taking popular songs from China and Australia, Bossa Negra has pioneered a new direction in world music by recording these songs with a Brazilian arrangement and incorporating instruments from each of these countries.

Giants of the Brazilian music industry were recruited to write the arrangements for this album including Renato Fonseca (who toured with Djavan on keyboards), Luiz Brasil (whose arrangements have appeared on the albums of Caetano Veloso, Gilberto Gil & Gal Costa), Marco Brito (Ivan Lins’ current pianist) and Sérgio Luiz Brandão. The album was recorded in Rio de Janeiro Brazil in 2009 and consisted the crème de la crème of Brazilian musicians including the following Grammy winners: Armando Marçal - multiple recipient of numerous Grammys for his role as the percussionist of Pat Metheny’s band during the 1990’s; Renato Fonseca - “Best Brazilian Song” received in 2000 for his role as the keyboardist and programmer on Djavan Ao Vivo album; and Marco Brito - “Album of the Year” & “Best MPB album” as the pianist for the album Cantando Histórias with Ivan Lins received in 2005.

Other musicians include Cassio Cunha (Alceu Valena), Carlos Balá (Djavan), João Viana (Djavan’s son), Cesinha (Caetano Veloso), Pantico Rocha (Lenine) on drums, Luiz Brasil (Gilberto Gil, Gal Costa), João Castilho (Djavan, Simone) on guitars, Jesse Sadoc, Marcelo Martins, Aiduas Ayres (Joao Bosco) on horns, Marco Lobo on percussion, William Barton on didgeridoo, Aria nominee Jacqueline Gawler and “asian new talent” recipient Joanna Dong on the vocals. Special guests include Samba legend Tia Surica of Portela Samba School, Paulinho da Viola’s daughter Eliane Faria, Brazilian rock legend Evandro Mesquita plus Grammy recipient and Brazilian pop sensation Jorge Vercilo.

Sérgio Luiz Brandão (co-producer - Brazil): With hundreds of albums and thousands of performances to his credit, Sérgio Luiz Brandão, the multi-instrumentalist, bass virtuoso, arranger, composer and producer has been a monumental figure in the Brazilian, latin and jazz scene for the past 40 years both in Brazil and the USA. They include; Antonio Carlos Jobim, Sérgio Mendes, Jaco Pastorius, Astrud Gilberto, Jeff “tain” Watts, João Bosco, Gilberto Gil, Marcos Valle, Johnny Alf, Wanda Sa, Michele Camillo, Kenny Kirkland, Flora Purim, Chico Freeman, Airto Moreira, Paquito D'Rivera, Gato Barbieri, Jon Lucien, Herbie Mann, Toots Thielemans, Naná Vasconcelos, Randy Brecker, Carlos Franzetti, Dom Um Romão, Trilok Gurtu, Jorge Dalto, Nara Leão, Leny Andrade, Cyro Baptista, Romero Lubambo, Toninho Horta, Café, The Black Eyed Peas, Will.I.Am, John Legend and Tania Maria. Sérgio Luiz Brandão also co-produced Ivan Lins’ album Juntos with Quincy Jones in 1984. The album was a blockbuster with both critical and commercial acclaim in this USA/Brazil coproduction. Sérgio was instrumental in recruiting the musicians that performed on this record including: Nana Caymmi, Djavan, Tim Maia, Elba Ramalho, George Benson, Verônica Sabino, Erasmo Carlos, Simone, Patti Austin, Paulinho da Viola, Beth Carvalho and Marcus Miller.

Howard Lee (co-producer Hong Kong- China): Musician, promoter and producer Howard Lee was first exposed to Brazilian music whilst playing with various jazz bands in China and Australia. To further explore his curiosity in Brazilian music, he travelled to Brazil in 2003 for almost 2 years. The aim of the trip was to study the many facets of Brazilian music, culture, and the historical/social context in how music plays a role in Brazilian society. These cities included Rio de Janeiro, Salvador, Recife, Porto de Galinhas, Olinda, Belo Horizonte, Ouro Preto, Manaus, Foz do Iguaçu and Sao Paulo. During this period he had the fortunate opportunity to study with some of Brazil’s most respected musicians including the drummer of Hermeto Pascoal’s band for the past 20 years Márcio Bahia, Edu Ribeiro from Yamandu Costa’s band as well as percussionists from Mono Bloco and Mangueira samba school.

Upon the return of this trip, Howard Lee has made it a mission to promote Brazilian music wherever he goes. This included the formation of the Hong Kong Bloco, the first samba percussion ensemble of it’s kind in the region as well as being the founder of the band Bossa Negra.

Album information:
Lead Vocals Mandarin: Joanna Dong

Lead Vocals English Jacqueline Gawler

Guitars: João Castilho

Bass: Sérgio Luiz Brandão

Keyboards/Piano: Renato Fonseca

Percussion: Armando Marçal

Sax: Paulo Levi Teixeira

Drums: João Viana

Arranger: Renato Fonseca (based on Marcos Valle’s live performances)

Backing Vocals: Jacqueline Gawler

Recording Engineer: Fabricio Matos

Mixing Engineer: Nicolas Kalwill

Mastering Engineer: Greg Calbi

Recording Studio: Fibra Studios - Rio de Janeiro, Brazil

Recording Studio (Joanna's vocals): Resonance Audio – Singapore

Mixed at Estudios Panda - Buenos Aires, Argentina

Mastering Studio: Sterling Sound New York

English Lyrics: Norman Gimbel

Mandarin Lyrics: Joanna Dong

http://bossanegra.com/

TONY BENNETT - DUETS II THIRTEEN GREAT PERFORMANCES

Tony Bennett made music history with the Grammy-nominated CD Duets II when it debuted at the top of the Billboard Album charts, making Bennett the oldest vocal artist ever to achieve the number one spot. Recently nominated for three Grammys, including Best Traditional Pop Vocal, Best Pop Duo/Group Performance, and Best Instrumental Arrangement Accompanying Vocalist(s), the critically acclaimed album followed the 85-year-old singer's Grammy-winning 2006 Duets CD, which had, in turn, been released in honor of his 80th birthday.

Tony Bennett: Duets II, a presentation of Thirteen Great Performances, features the singer's greatest hits, performed by Bennett and today's biggest stars, including John Mayer, Michael Buble, k.d. lang, Sheryl Crow, Willie Nelson, Queen Latifah, Norah Jones, Josh Groban, Faith Hill, Alejandro Sanz, Carrie Underwood and more. The sessions, filmed to capture the magic of these performers singing with the master of the Great American Songbook, airs on Friday, January 27, 2012, at 9 p.m. on PBS (check local listings).

The album took more than six months to record, with each track recorded face-to-face with his singer partners in studios around the world, from LA to Nashville to London. Among the many highlights is Amy Winehouse's last recorded track ("Body and Soul"), which was produced in London's famous Abbey Road Studios in March. Other tracks were recorded in New York in late July: the Richard Rodgers-Lorenz Hart classic, "The Lady Is a Tramp," with Lady Gaga, and the Alan and Marilyn Bergman classic, "How Do You Keep the Music Playing," with Aretha Franklin, and "Stranger in Paradise," with Andrea Bocelli, recorded at the singer's Italian home (see full track listing below).

The CD received kudos from all quarters. The Wall Street Journal noted that the singer was "…constantly reaffirming his position as pop music's greatest living patriarch," and Associated Press observed, "Tony Bennett is as timeless as the songs he sings on Duets II.'" The musical segments are highlighted by insights on the process from the performers, making for an up-close look at one of the year's most celebrated recordings. The sessions were filmed by Oscar-winning cinematographer Dion Beebe ("Chicago," "Memoirs of a Geisha," "Collateral"), providing a personal, behind-the-scenes look at Bennett's latest collaborations and his artistic approach with each song.

Entering his seventh decade as a recording artist with more than 100 albums and 15 Grammy Awards including the Grammy Lifetime Achievement Award, Bennett has earned his legendary status many times over. He remains the Columbia recording artist with the greatest longevity at the label. His 2007 primetime special, "Tony Bennett: An American Classic," won seven Emmy Awards and was directed by Academy Award winner Rob Marshall. He has performed for Presidents Eisenhower, Kennedy, Johnson, Carter, Reagan, George H.W. Bush, Clinton, George W. Bush and Obama. He also worked with and marched alongside Martin Luther King in his 1965 civil rights march and was honored with the Martin Luther King's Salute to Greatness Award.

In addition to performing, he is a visual artist as well, with three of his original paintings featured in the permanent collection at the Smithsonian, including his portraits of Ella Fitzgerald and Duke Ellington. His humanitarian efforts are renowned, and the United Nations honored him with their Humanitarian Award in 2007.  He has published three books — his autobiography, The Good Life, and two collections of his paintings, Tony Bennett: What My Heart Has Seen and Tony Bennett in the Studio: A Life of Art and Music. Bennett founded, in association with the Department of Education in New York City, the Frank Sinatra School of the Arts — a public arts high school in his hometown of Astoria, Queens. With his wife, Susan, he established Exploring the Arts, a charitable organization that supports arts education in NYC public high schools. Exploring the Arts supports 14 public high schools throughout New York City.

The full song program follows:

"The Lady Is a Tramp" (Lady Gaga)

"One for My Baby (And One More for the Road)" (John Mayer)

"Body and Soul" (Amy Winehouse)

"Don't Get Around Much Anymore" (Michael Buble)

"Blue Velvet" (k.d. lang)

"How Do You Keep the Music Playing" (Aretha Franklin)

"The Girl I Love" (Sheryl Crow)

"On the Sunny Side of the Street" (Willie Nelson)

"Who Can I Turn To (When Nobody Needs Me)" (Queen Latifah)

"Speak Low" (Norah Jones)

"This Is All I Ask" (Josh Groban)

"Watch What Happens" (Natalie Cole)

"Stranger in Paradise" (Andrea Bocelli)

"The Way You Look Tonight" (Faith Hill)

"Yesterday I Heard the Rain" (Alejandro Sanz)

"It Had to Be You" (Carrie Underwood)