Broods - "Never Going to Change"



Brother and sister duo Broods (Caleb and Georgia Nott) are from New Zealand. Check out their arresting new single.


Audio


Facebook - Broods

[img:$uid]http://i.minus.com/j1DsHj6DLif8n.jpg[/img:$uid]

This is the latest from the Canadian soultress.


twitter.com/Rochelle_Jordan

Trent Reznor Working on Music for “New Creation”

January 27, 2014


Trent Reznor has a new release headed our way. The Nine Inch Nails frontman has revealed he’s recently begun working on material for a new musical endeavor, which he will continue to develop during NIN’s upcoming Australian tour with Queens of the Stone Age.

“[I’ve] just started on a new product,” he tells Rolling Stone. “Can't tell you what it is yet. It will take place while touring. Every spare second, and even seconds that aren't spare, are trying to wrangle this new creation into shape.”

While it’s unclear whether the new music will be for Nine Inch Nails or his side project, How to Destroy Angels, Reznor says he hopes to unveil the new project sometime in the fall.

(Source: ABC Radio News)

***NEW*** Raquel Rodriguez - Hold On (Official Music Video)

FREE LISTEN AND DOWNLOAD Of Single:

https://soundcloud.com/meginthedark/go

Make A Shadow' EP coming 2.11.14 megmyers.com

Check it out very moving story...


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Algebra's new song “Danger Zone”, produced by LT Moe.


Soundcloud - "Danger Zone"


twitter.com/yesitsalgebra

Laura Pausini, Marc Anthony New Music Video: Watch 'Se Fue' Tropical Version Here! [EXCLUSIVE]

Laura Pausini re-released her 90s hit "Se Fue" giving it a tropical twist featuring Marc Anthony. The song keeps its same essence, but it will make you dance through your heartbreak! Courtesy of Rondene PR

Liv Warfield on doing 'The Unexpected' with Prince, playing 'Fallon': Q&A

Portland's Liv Warfield, a member of Prince's New Power Generation band, releases her sophomore album, “The Unexpected," in 2014. (Courtesy of Captivate Marketing Group)

By David Greenwald | dgreenwald@oregonian.com

on January 22, 2014 at 6:00 AM, updated January 22, 2014 at 2:15 PM

Liv Warfield is about to release "The Unexpected" -- a title that describes her life since 2006 album "Embrace Me," which has seen her join Prince's band the New Power Generation. Prince was a collaborator and producer on the new album, which Warfield will showcase with her solo TV debut on "Late Night with Jimmy Fallon" on Jan. 28. The Oregonian spoke with the soulful Portland singer about embracing rock 'n' roll, what she learned from Prince and feeling fearless on stage.

Tell me about the title of this album, "The Unexpected." What does that mean to you?
Liv Warfield: A lot of events that have led up to now have been unexpected. Basically since my last album, from "Embrace Me," I wanted it to be different. I didn't want people to think I was going to do the same things the same way. It's a new me.

Going into this project, how did you want it to change it up?
LW: First off, I've always been a rock 'n' roll fan. Maybe at the time when I did "Embrace Me," I didn't know how to connect with that yet. (I was) very much a young writer, still trying to find out who I was as a musician. So I got to do what I wanted on this record. Being with Prince and the New Power Generation, I was very influenced by those sounds and now I'm more than ready to show that side of me with confidence. I had to go across the line of being a little fearless, because I was really nervous (laughs) to bring out that side of me. And Prince really, really helped to develop who I was. Being around him, how could I not learn anything in that way?

And did the two of you co-write some songs on this album?
LW: We co-wrote one song, which is "Your Show," and he wrote the title track, "The Unexpected." I came up with the title, "The Unexpected," I knew I was going to name my album that first and he asked me, "Do you have anything for that yet?" He pretty much surprised me and came up with just this amazing, amazing song.

Playing in Prince's band, has it been hard for you to carve out the time to be a solo artist?
LW: It wasn't hard at all. If anything, he gave me a lot of the courage to go off on that path and just do it. It was kind of a hard process, I was really shy with it and he was like, "Start writing first." He really let me go for it.

Having worked so much with Prince now, is there a moment in that collaboration that stands out?
LW: Every time I hit the stage with him, it's super-surreal. He's super generous with his light. Being able to be in the studio and to learn from him and see how he writes and arranges -- I get goosebumps talking about it. Because he's special. He really is.

Does a song like "Why Do You Lie," a relationship-driven song, come from an autobiographical place for you?
LW: (Laughs) Yeah it does! It comes from a very personal place. I wrote it a long time ago, but when I got all those components of being around (Prince) and learning how to really write it and arrange it, I was like, yes, finally, this song is ready for the world to hear..

You have "Fallon" coming up. Going out there on your own, will you be able to bring that fearlessness to the stage?
LW: Oh, I hope so, that's my goal every time I hit the stage. That's the safest place for me, to be quite honest, and I'm totally different off stage, a totally different person! When I'm on stage, it's such a spiritual moment that I hope even when we hit "Fallon," you can feel that through the TV. I have this whole horn section that's part of New Power Generation, I have an amazing crew of musicians behind me. It's their energy, too.

What are your hopes for this album release?
LW: My hope is that the world gets to hear it. I really want live music to get pushed to the forefront. I want to be able to preserve that sound that I feel like is missing right now on the radio. We recorded a lot of this stuff on tape. That whole process is gone, and I really want people to take back that process and know that real music is still alive, it's still there. It can move people, it can be played on the radio.

Free Listen: http://maiagan.com/music

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Estonian bassplayer Mai Agan is a new shining star of the bass guitar world. She has attracted the attention with her versatility, musicality and power in different music genres: jazz, pop and rock bands, sharing the stage with top musicians from Estonia and abroad: KERLI, Linnea Henriksson, Tiit Paulus, Ain Agan, Riho Sibul, Jaak Johanson, Toomas Rull, Kaire Vilgats, Teele Viira etc. She is the leader of a jazz-fusion band MaiGroup and a power-guitar trio MaiTrio with whom she plays her own original music. MaiGroup released debutalbum “LUV” in April 2013!

Mai was born in Kuressaare, on an island Saaremaa, Estonia. She played the violin for 8 years and first touched the bass at the age of 16. It was a moment of recognition. Estonian “Jazz King” Tiit Paulus became her new teacher in 2004 and they played together in a band 2+2=5. Mai started playing with the great masters in an early age since Tiit often invited his friends to play with 2+2=5 (Ain Agan, Lembit Saarsalu, Jaak Sooäär etc). Mai continued her studies in Georg Ots Tallinn Music School where Raul Vaigla became her teacher. He had been Mai’s favorite musician for years (he still is!) so these years with Mr. Vaigla were extremely inspiring. He has stayed by her side as a good friend and a supporter. Mai graduated in spring 2010 and after that moved to Sweden. She studied one year at one of the best jazz schools in Scandinavia - Skurups Folkhögskola and at the moment Mai is studying at The Royal College of Music in Stockholm. In April 2010 she won the best instrumentalist prize on Uno Naissoo Compostions Contest.

MaiGroup plays life biggest happiness and sadness

on Monday, 22 April 2013. Posted in English Jazzkaar News

MaiGroup

Interview with the woman in charge. Mai Agan from MaiGroup says that music is in her blood and that love inspires her. MaiGroup has released their first album “Luv” and are ready to share all of their happiness and sadness with you.

Interview by Ana Pervan

Since the members of MaiGroup come from different countries (A/N Estonia and Sweden), how do you manage your time regarding the composing, jamming sessions and gigs?
I am originally from Estonia, but three years ago I made a decision to go to study in Sweden. I had so many songs going on in my head and it was time to write them down, so I formed MaiGroup while studying at Skurups Folkhögskola. One year later I made a transfer to The Royal College of Music in Stockholm and now me, Björn Arkö and Rasmus Lindelöw go to the same class and Calle Stålenbring and Jonathan Lundberg are almost done with the school.

Basically we spend a majority of time at school and we have enough time to jam. The only period when we are separated and when we do not play together is during the summer. That is actually good because the break makes our sound fresh and while away from the guys, I use some time to write new songs.

There are not so many female electric bass players. Mai, why the bass?
I played violin for eight years before I met the bass at the age of sixteen. Actually, at that time I was playing in a band called 2+2=5 and our former bass player decided to leave. We needed a new bass player and I just said: “OK, give it to me. I’m going to try to play the bass”.

When I first touched the instrument I am playing now, it was like the moment of recognition. It seemed that the bass and I had always belonged together, but we hadn’t met each other yet. It was a magical moment, just like when you just meet a right guy, but I guess I met the right instrument.

You have been featured in one Estonian guitar magazine regarding your bass playing skills. Is this something you plan to continue doing?
The Estonian guitar magazine opened a bass corner and I was asked to start writing for them in order to inspire young bass players. It’s a new project and I am happy to do it. In Stockholm I have a chance to learn something and why not to share my knowledge with Estonians who do not have the same opportunity as me.

Do you consider yourself as a role model for youngsters who want to play the bass?
Wow, I haven’t thought about it, I don’t know. I just want to do my thing as good as possible and if anyone finds it cool and if people think of me as an idol or a role model, I would be honoured.

I just want to do the thing I love as good as possible. Music is such a gift and I never take it for granted. I know that talent is one thing, but I also have to work for something that I love. It is an inner urge, some kind of natural force. Not everyone gets there, but I hope to get there.

What motivates you the most while composing?
Love is the most powerful thing in the world, ever. It is the greatest weapon, not because I am naive, it’s because I have tried everything else. It is the greatest inspirations. It goes with everything there is in life. Some people love money so much, that they will do everything to earn more; some love the power so much that they would do everything to be in the top of the politics; some people love beautiful cars and they would do whatever to get them. On MaiGroup’s album, all the songs are inspired by love and for the people in my life. All the songs are like the stories inspired by the specific happy and sad emotions. Yes, love is everywhere.

You had really good mentors. Was the chance to demonstrate your bass playing skills one of the reasons for forming the MaiGroup?
That is a good question. I think I have never tried to show off myself as a bass player, I have formed the group because I had some stuff in my head that I wanted to get rid of. As a musician you always have a mission to share the beauty and pain of your life with others. If you have been given a talent, then you should use it. I am very happy to be able to share my music with others.

MaiGroup has started as a student project. Recently you have released your first album, Luv. Do you consider it as a closure of everything you have been doing in the last years?
Yes, even though the music is five years old. We have been playing together for two and a half years now, and the members of the band have been changing, because I was looking for a different sound. At first I was sad because I didn’t want to hurt someone while changing the members, but now I feel happy because we have reached the wanted sound. The sound will always evolve, it comes with the players.

The guys in the band are very creative and open minded, influenced by different music styles. I like that a lot. For example the drummer is very good at playing some hard rock stuff, but he can also play some artsy things. On the other hand, the guitar player is playing with the most famous Swedish pop stars, but he is also good in playing jazz. I want to meet that mix.

Let’s talk about “Luv”.
That album has all my biggest happiness and sadness on it. In every happy song, there is a little piece of sadness and in every sad song there is a little bit of happiness. It is never this or that. It is always walking between those two lines.

MaiGroup’s music is inspired by love. It has really nice beats, awesome grooves and beautiful melodies. It is very important to me that each and every melody has a story to tell. It’s just my life in music. Album “Luv” is downloadable on iTunes and you can buy a physical copy in the record store, on Amazon and from me. If someone wants to have a copy, just send me an e-mail and I will post the album to you.

The album “Luv” features ten tracks. How long was the procedure of making it viral?
The oldest song is from 2008 and the newest is written together with the guitar player, Calle Stålenbring. We wrote it in September 2012 and it is called 362, which is the name of my bass class in Stockholm. It took me five years to put all the pieces of the puzzle together and create an album. Those five years also symbolize a relationship with my husband. Since we got married in February, I have recorded those five years which I may say have been the happiest and also the saddest time of my life. Since we got married, it is time to move on, to turn another page and to start writing new music.

MaiGroup has received some good critics regarding the “Luv” album. What are your impressions?
I am very moved, because it is so personal. I know it is a great record, because I have such amazing guys playing on it, but compositions that come from me… /pauses/ I feel very, very grateful for the people who like it.

My friend Mark Juur is not a musician; he is a melomaniac and knows a lot about music. After hearing the album, he sent me a really touching e-mail. I loved it very much when he said it is very emotional, that the music goes far away and gets close to the listener again. He also said that “Luv” is not a bass player’s album, it’s an album of a band and a band is fucking great! I really liked it, because that was my purpose. Everybody plays the same amount of solos, because we are a band and I don’t want to dominate. All guys should feel appreciated that they are giving something and that they are not pushing me up, they are pushing us up. About the song 362, he said it has some really sweaty fusion in the muscles.

Also, my first bass professor Raul Vaigla said how proud and happy he is for me. That is not so common among the bass players. I am really happy for the relationship I have with my former bass teacher; we are both proud of each other’s work and success. His review was very important to me. The majority of critics are coming next month, so I am looking forward to them.

MaiGroup is no stranger to the Baltic jazz enthusiasts. Do you have some plans for spreading your vibes and playing in Central or Eastern Europe?
Yes, this is our third year in a row in Estonia. We have been playing at the Student Jazz Festival and had two Estonian Jazz Union Tours. Last July we played at Muhu Future Music Festival and in Stockholm at the New Sound Made Festival.

We are also focusing on going abroad. I think we have everything: good music, nice photos and an attraction as a band with a female bass player who is also a composer. I am working hard to establish MaiGroup’s name out there. On Youtube you can find fifteen–year-old girls showing their boobs while playing only two notes on their bass guitars and getting millions of views. I might play awesome in 300+ bpm but still get fewer views. Maybe it is not the time, so I am taking it kind of easy.

Who do you consider as your core audience?
My music is not only for musicians who will come to the concert just to see how fast I am playing now. I would like to get further than that, to reach the people who actually enjoy it. I think we are getting there, because I have got a really nice feedback from the people who are not in the music at all and who are moved by what we do.

I would also like to have an intelligent audience, the audience who understands the bass. I didn’t become a singer because I didn’t want to be in front of the stage. As a bass player, even though it is my music and my band, I want the people to appreciate what all the group members are doing. Warm audience is important. My music is personal - I put all my heart and soul in it. For example, at the concert, we were playing a song that I have dedicated to my grandmother. I told the story behind the song and while playing I have seen an old lady in an audience. She was crying, because she was moved. When I see the young jazz students who are digging what the drummer is doing, I get such a kick out of it, like: “Yeah! We are doing a right thing!”

Are there any future plans for MaiGroup regarding the sound? Maybe the next album will bring some changes.
I think that MaiGroup will have the same members: saxophone, drums, guitar, piano and the bass. It doesn’t matter if I am going to change the saxophone or a guitar player in the future, it matters that I have the right sound of the band. Actually, I was thinking of having a piano trio next year, why not to call it MaiTrio or a quartet as MaiQuartet? I have many plans, so why not to do something with MaiGroup like a singer featuring or whatever. There are so many possibilities and I am open-minded. If anyone has some ideas, let me know.

Is it time to take a break after the album release?
After releasing “Luv” a few weeks ago, someone told me that this won’t be my last album. At first I wasn’t sure if I want to make another record, but right now I think of it as a milestone of my life. When I am eighty years old I think I am going to look back at that and say what a great band I had. I really want to thank all the teachers and all the people in my life for all the inspiration. I have dedicated most of the songs to them, i.e. the song Rite is composed for my grandmother and the song Alpha & Omega is dedicated to my husband. I am grateful for everything.


Maigroup members:
Björn Arkö - sax
Rasmus Lindelöw - keyboards
Calle Stålenbring - guitar
Mai Agan - el. bass & compositions
Jonathan Lundberg – drums

Check her out! Amazing Bass player

Music: http://www.brandidisterheft.com/

Gracious and Talented Beyond Her Years: The Fourth Brandi Disterheft Interview

Brandi Disterheft caught our writer's ear even before she put out her first record. She hasn't disappointed since.

By Jim Dupuis

I first heard bassist Brandi Disterheft’s playing on the fine 2003 release Introducing The Laila Biali Trio. At the time I was making a point of interviewing young jazz musicians for my radio show Jazz Notes. Soon after, I approached her about doing an interview. At the time she was living in Toronto and honing her skills by playing in various bands. I think she was surprised that I wanted to interview her, because she had yet to put an album out as a leader. But she agreed.

She had a very young sounding voice, but I was impressed by her confidence. She was very knowledgeable about jazz and the jazz tradition. My instincts were that this young lady was going to go places. In 2007, I had the pleasure of hearing her play live, when she toured as part of the Richard Whiteman Trio. I thoroughly enjoyed the show. Later in 2007 she independently released her first album Debut and included me (among others) with a thank you in the liner notes. I was surprised and delighted and interviewed her again. Her second CD, Second Side, now on Justin Time spawned another interview and some changes in the style of music she was playing and the addition of vocalists, including Brandi.

Soon after, I got to hear her play for the Vernon (B.C.) Jazz Society, later that year at the Vancouver International Jazz Festival and some time in between at the Ashcroft Opera House. Brandi Disterheft has since moved to New York and for a time studied with the great bassist, Ron Carter. Earlier in November she returned to Canada and brought a trio into the Shuwap Theatre in Salmon Arm, B.C., as part of her fall Canadian tour. This gave me an opportunity to catch up with this talented, young woman and talk about her new CD Gratitude that was recently released on the Justin Time label and climbed quickly to Number 1 on the Earshot charts. I spoke with her after her performance that evening.

JD: How are you doing Brandi?

BD: I’m doing great, thanks.

JD: Did you enjoy playing tonight?

BD: Yes I did. It’s such a beautiful theatre, here and the band sounded great and the upright piano gave it such a flavour. We’ve been touring across the country, so the band is definitely warmed up. That was a very, beautiful audience, too.

JD: Yes, it was. I had the pleasure of sitting exactly in the middle of the theatre and I haven’t heard sound that was that clean and clear in a long, long time. It was really a pleasure being in this theatre in Salmon Arm.

BD: Oh great, I’m glad. That’s exactly what our piano player Dan Kaufman said.

JD: Where did you find Dan Kaufman?

BD: I met him at a jam session in New York City. He’s originally from Chicago. We played together as side-men in a trumpet player’s band, Dominick Farinacci. Then, I started hiring him for some gigs and asked him to play on this tour. What’s so great about Dan is that not only does he have great facility and great touch and a great feel and he can play modern, but he also has a real respect for the tradition. He also plays stride and he isn’t afraid to still portray the tradition, which I think is so important. He makes the music sound so romantic, like the albums I still listen to.

JD: You are definitely right. While he was playing you could hear elements of classical, New Orleans, and like you said stride, at different times. The ballads were just beautiful. It was just wonderful playing. And, you had your old buddy from Vancouver playing drums with you, I guess the kids call him “Morgs,” and that would be Morgan Childs.

BD: You got it, Morgs, ya! We first met in Vancouver in our early twenties and did the Banff Workshop together. He’s always been such a great supporter saying things like, “Brandi you lay down beautiful time.” We’ve become really great friends. He plays with Amanda Tosoff and many other bands. He has that feel; that sound; and again, not afraid of playing the tradition, which I really like, so the music really swings.

JD: Yes, it really did tonight. So you have a new CD out called Gratitude. It just happens I have one in front of me, with some lovely pictures of you on the cover. It mentions your Juno Award and other information. Speaking of having good bands with you, this band is “scary” good. Tell us about the new CD.

BD: It features Renee Rosnes on piano. She is from the same high school I went to, Handsworth (North Vancouver). She has such beautiful swing and a light touch. I have Gregory Hutchinson (the late Ray Brown’s drummer) on drums. He’s a machine and one of my favourite drummers in the world. I asked him to be a part of it and he went through the music and we really hit it off. I’ve got Sean Jones on trumpet, who was in Wynton Marsalis’ group (Lincoln Center Orchestra) for years. He’s a true virtuosic trumpet player. I remember meeting him at summer camp when I was quite a youngster. He had tears streaming down his eyes and he said, “Playing music is all about portraying love; expressing love; it’s all about love.” He’s just a beautiful guy and truly one of my favourite trumpet players in the world! Then, I have Vincent Herring on alto saxophone. He plays with Cedar Walton’s group and now Vincent Herring has asked me to join his band and we’ve been doing some dates up at Smoke in New York City. Eric Alexander and Cyrus Chestnut were on the last one. So I thought it would be great to have him on the album. I’ve been playing jam sessions at his house for the last few years in New York City and whenever he plays he has such monstrous sound that he shakes the windows in his living room. Then, I have one of my very good friends, Anne Drummond (Kenny Barron’s flautist) on flute. She’s a composer, herself and a great band leader.

Debut CD

JD: Now getting into the CD, one of my favourites is a song called “Open,” that you penned and I could see the intro to that being the theme for half-a-dozen CBC shows. What do you think about that?

BD: That’s the best idea I’ve heard yet (laughs), Jim. Thank you. “Open” is a real swinging song. It means that we have to keep our minds open and not have tunnel vision and be open to change, since the world seems like it is changing quite quickly now, with the economy and we sort of have to re-invent ourselves. Ya, I really love that song.

JD: You mentioned emotion and love. There are two songs on Gratitude that have a lot of emotion. Tonight you played the title track and I could see tears in your eyes and emotion came through on your instrument and not just on your face. Brandi, would you tell us about that?

BD: Ya, thanks. The title track is “Gratitude” and there are many things that I am grateful for. I’m grateful to be able to perform and play with such great musicians. But I wrote this song for my cousin David, who suddenly fell ill. We thought he’d make it through, because he was about my age. Then we got the call that he was robbed of his immortality and that he had passed away. He was like a brother and it was pretty hard on the whole family and I wrote the song “Gratitude” to be grateful for his life and to celebrate our memories and our family. The music just poured out of me. I actually wrote a suite and this is just one part of it and I’d like to release the other parts, too.

2nd CD

JD: Ya, you could tell that there was probably more to that, but we are all aware that there is only so much space on a CD. That brings me to another track I really like by Renee Rosnes called “Mizmahta” and she wrote is for a friend of hers, and it almost means Miss Mahta. It is one of my favourite tunes and you can really hear how beautiful the writing is and it’s a great blowing vehicle and she sounds phenomenal on it. It’s just cooking! It was a real treat playing with Renee, because I grew up listening to her music. She was such an icon; not just a female icon, but coming from North Vancouver and playing with the heavyweights. That speaks for itself. She was a real sweetheart, too.

JD: I’ve heard that about her. I’ve seen her in concert six or seven times in my life and it’s just been my pleasure. I’ve seen her since she was quite young and I saw her with Bill (Charlap, her husband) when they did the two piano show at the place that used to the called The Centre at the Vancouver International Jazz Festival. That was just a lovely, lovely show.

BD. Oh, cool.

JD: So you truly do have impressive band mates on this CD. There’s a track from Jimmy (Van Heusen) and Johnny (Burke). They are one of my favourite composing pairs. You chose their classic standard “But Beautiful.” Why did you pick that one?

BD: I love the lyrics. It’s basically saying that the most important thing is to love. Even if it goes sour it’s still beautiful and so many greats have recorded it from Billie Holiday to Nat King Cole, Freddie Hubbard, Nancy Wilson. I wrote an introduction to it, which is sort of comical and sets up the tune. It’s just a beautiful standard.

JD: It surely is. After you finish this fall tour with the trio what do you have planned?

BD: After I get back home to New York we are playing at The Lincoln Center at Dizzy’s for the CD release with the guys from the album. So, that should be a highlight to come back there and play. We are hopefully heading to Europe in the spring and we will be doing the jazz festival circuit in the summertime.

JD: That’s awfully good to hear. I know you have to get moving, so best of luck on the rest of the tour.

BD: Thanks so much Jim. It was great to see you again.

You can buy Gratitude by Brandi Disterheft on I-tunes, Amazon.com, CD Universe

[Edited 1/30/14 15:43pm]

Seeing her live in concert would be nice. She has recorded three albums I'm interested in hearing. Thanks, Joe.

Identity said:

Seeing her live in concert would be nice. She has recorded three albums I'm interested in hearing. Thanks, Joe.

glad you like her ID. I ordered her other CD as well should be here this week. I'd like to see her live as well, but looks like it won't happen till summer. I'll post and let you know.

Katy Perry's GQ Profile Outtakes: Going Back to School, Dating Musicians and Plastic Surgery

Interview: How Ryan Tedder Helped Colbie Caillat Rethink Her New Album

By Annie Reuter

Colbie Caillat thought she was finished with her new album. That is, until she wrote a song with OneRepublic‘s Ryan Tedder. That song became her current single “Hold On,” and completely changed the direction she was going toward. In a video interview with Radio.com (watch above), Caillat explained how that writing session came together and why Babyface is her favorite producer to work with, as well as previewed some of the tracks on the album expected later this year on Republic Records.

“I flew to Miami where [Tedder] was on tour and we wrote ‘Hold On,’” she told Radio.com. “Once I heard the production and the direction that we went with on this song, it inspired me and everyone on my team of this new sound.”

Related: Listen: Colbie Caillat Lets Out Her Inner Diva on New Song ‘Hold On’

Caillat said the record will be a mix of the songs she previously recorded for the album, which was originally set to be released last November. The tracks are “a little more classic rock, 70s vibe and these up-tempo departure leaning pop style songs.”

With this record, she worked with several writers and producers she’s used in the past, as well as Babyface, whom she credits as her favorite producer.

“He can write any style song, produce any style and for this record we’ve done four, maybe five songs together,” she said. “The first one we wrote together is ‘A Land Called Far Away’ and it’s leaning a little folk. There’s a banjo in it. And then the next song we wrote is R&B and pop. There’s all these big vocals and riffs all over the place. The next song we wrote together is a piano ballad that’s raw. No harmonies. Just acoustic guitar and piano. It’s called ‘Try.’”

While she hasn’t put together a final track list, Caillat said many of the songs are taken from what her friends and family are going through and past relationships she’s been in.

“['Try'] is about how us women feel like we need to change ourselves in so many different ways for people to accept us and like us. As much as we all hate that we allow that to happen, we still do it. Every day we wake up and change the way we look just so that we feel better about ourselves. Me and Kenny [Babyface] and Jason [Reeves], we were talking about that. We wanted a song that was honest and vulnerable.”

Two other tracks were inspired by her best friend’s dating life, which reminded Caillat of people she has dated in the past.

“It’s easy when you can relate to something like that. There’s a couple songs on this record that I wouldn’t want the guy to hear because I wouldn’t want him to get that kind of credit.”

But others, she wants him to hear.

“It’s a little bit of revenge, but I think in a cool way. A way that you took that anger for the person and you created something beautiful with it.”

New Single

New CD Drops In April.

Video Interview: http://www.cbsradio.com/v...Id=9777023

[img:$uid]http://i.imgur.com/v0I6ZiO.jpg[/img:$uid]







Eric Roberson gave his fans a behind the scenes look at his latest single “Anymore”, from his new B-Sides, Features & Heartaches album.

ericrobersonmusic.com

SOUNDS Q&A: LOLO

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Video Interview: http://vimeo.com/77241985

Ira May - "Let You Go"

Live in the studio. From the album, The Spell.




[img:$uid]http://i.imgur.com/NBVPG1X.jpg[/img:$uid]

^^ I'm eagerly awaiting her CD. No date yet I guess. I have her on facebook, but it's in her language only. No english.

I think her album came out 2 weeks ago on the German label, Peripherique Records. I'm still trying to verify.

Guitarist Jim Campilongo's new release of instrumental music Dream Dictionary features Jim Campilongo - electric/acoustic guitar, Josh Dion - drums, and Chris Morrissey - electric bass. Vocalist Norah Jones guests on Here I Am. Additional musicians include Steve Cardenas - acoustic guitar on One Mean Eye, Dan Rieser - additional drums on Here I Am, and Howard Alper - shaker on The Past Is Looking Brighter and Brighter. Produced by Andy Tommasi. CD is out!

The story of Orpheus and Eurydice has been told and retold in various mediums and manners throughout the ages. Claudio Monteverdi used opera as his means of transmitting the tale, alt-rocker Nick Cave tackled it head-on in song and author Neil Gaiman revisited the story in comic book format, but the list doesn't stop there; any decent rundown of Orpheus remakes has to include Brazil's two most famous contributions: the play Orfeu da Conceição and its subsequent film offspring, Black Orpheus (Dispat Films, 1959).

These works set the story during the time of Carnaval in Rio de Janeiro and feature some of the finest Brazilian compositions to come out of the mid-twentieth century. Antonio Carlos Jobim and Luiz Bonfa each wrote some timeless songs to fit the story and set things in motion for the Brazilian music boom that would sweep America in the early '60s.

Bassist Nilson Matta, like many a musician-to-be at the time, was completely taken with the music connected to these projects and he longed to record pieces from both the play and the movie; he's now accomplished his mission. Matta assembled a rotating to-die-for cast including pianist Kenny Barron, clarinetist Anat Cohen, trumpeter Randy Brecker, and vocalists Leny Andrade and Gretchen Parlato, to rework this music to his liking in various settings and manners.

Short interludes serve as palette cleansers and transitional devices to connect fully fleshed out works that really deserve a listener's undivided attention. Each of Matta's fully realized performances allow a different element of sophistication to come into focus. Jobim's "Overture," for example, mixes the prim-and-proper with the passionate-and-pure, thanks in part to Laura Metcalf's cello, while Bonfa's better-known "Samba De Orfeu" feeds off of the energy provided by clarinet queen Anat Cohen. Both of Parlato's appearances prove to be pure magic and other highlights include "O Nosso Amor," which features Brecker out front, and "Manhã Da Carnaval," which matches Barron up with Matta and drummer Alexander Kautz.

Amazing CD and my introduction to him.

Honorable mentions go to flautist Anne Drummond, who rarely gets the attention she deserves in the jazz press, guitarist Guilherme Monteiro, who adds color and rhythmic zest to every setting he appears in, and pianist Klaus Mueller, who turns in some excellent performances and contributes a few notable arrangements. Matta's work simultaneously lives up to the spirit of the original interpretations of this music and the notion of artistic rebirth that has long surrounded this story; kudos to this bassist-cum-conceptualist.

Track Listing: Overture; Repinique Interlude; Samba De Orfeu; A Felicidade; Cuica Interlude; O Nosso Amor; Manha De Carnaval; Batacuda I; Eu E O Meu Amor/Lamento No Morro; Frevo De Orfeu; Valsa De Euridice; Ascend, My Love; Um Nome De Mulher; Batacuda II; Se Todos Fossem Iguais A Voce; Violao Interlude; Hugs And Kisses.

Personnel: Nilson Matta: bass; Randy Brecker: trumpet (1, 6, 17); Anne Drummond: flute (1, 9, 11, 17); Laura Metcalf: cello (1); Guilherme Monteiro: guitar (1, 3, 4, 6, 9-11, 13, 16, 17); Klaus Mueller: piano (1, 6, 9, 11-13); Alex Kautz: drums (1, 3, 6, 7, 9-11, 13, 17); Reinaldo Silva: percussion (2, 8, 14, 17); Anat Cohen: clarinet (3, 10, 13); Kenny Barron: piano (3, 7, 10); Fernando Saci: percussion (3,5, 8-10, 12-14, 17); Leny Andrade: vocals (4, 15); Alfredo Cardim: piano (4, 15); Erivelton Silva: drums (4, 15); Jorjao Silva: percussion (8, 14, 17).

Interview: ‘Uncle’ Gu..., Part One

Guy & Chef at Pocono Blues festival

Guy Davis is an American blues guitarist and banjo player, actor, and musician. He is the son of actors Ruby Dee and the late Ossie Davis.

I have always admired Guy Davis for his simple yet complicated approach to music. To me he is a link to the past while being a guiding light to the future of the Blues. We finally got a chance to ‘get it down on a digital recorder’ on the October 2013 Legendary Rhythm & Blues Cruise, and it turned into something equivalent to two old friends sitting around chatting about all that is precious to them and shared experiences.
Guy and I grew up in NYC and are about a year apart in age (I’m older, he’s wiser) so the common bond was there from the start.
We talked late into the evening, and went way too long for a one and done here, so it will broken into two parts. This first part puts us on the map as we speak about his BMA nominated release ‘Juba Dance’ and some of his inspirations. Oh yeh he is also nominated for Best Acoustic Artist this year …..
So please sit down with us as we chat and laugh and learn about the music, each other and reflect on life…..
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Blues411: So, your latest release, Juba Dance. It’s good to know that it made it to #1 on the Blues411 Chef Suggestions.
Guy Davis: Anything that gets close to food works for me.

B411: I hear you on that stand brother. It’s kind of interesting since you do covers of the old masters and you some of your own stuff that’s original but that has that old feel that I think is kind of great. Tell me about it; tell me your thought process because you’re an interesting guy!

Juba Dance

GD: Well, I can’t help that. Juba Dance – the title was the last thing to come to me in the completion of this project. I got some money from a fellow in Italy to come on over and just record. So I just started grabbing some songs off the shelf from everywhere that I could find them. There are songs from Bertha “Chippie” Hill, like “Some Cold Rainy Day”, a song that always fascinated me but for some reason I never clung to it. Maybe I was a little intimidated by some of these songs. Another one by Blind Lemon Jefferson called “See That My Grave is Kept Clean”. That song has a particular history with me in that my Dad used to quote the lyrics – he would be speaking. “ It will be a long, long lane that ain’t got no end. It’s a bad wind don’t never change. “ And I was supposed to sing a different song I’d written at his funeral, but that song was not ready. So I sang “See That My Grave is Kept Clean”.

B411: Oh my gosh…
GD: And here I am on the CD, I got the Blind Boys of Alabama singing it. I could tell you stuff people would never think about. For instance, the way I do it alone – “See That My Grave is Kept Clean” – it’s in G modal, but it is a major key and it alternates. It has a dissonance. When the Blind Boys see it, an mp3 was provided for them. I was in Italy and they were in the states. And when it came back, they sang it in minor. So I’m playing major and they sang minor. So what I did, I had to tweak the guitar part. All the major notes and then I replayed the instrumentation with a banjo. All notes that would fit the minor. I had to grow and rise to the occasion. And it became beautiful in a way I didn’t anticipate when I did it. When I sang it.
B411: So you were kind of intimidated by it to start with. And then you get it and it’s a whole new challenge.
GD: It makes me think in my old age that I’m worth something. Maybe I actually do know a few things. I’m glad. It helps me to do what I’m here to do on this planet. And that is to spread the news, spread the energy. The blues certainly wasn’t invented by me. I just try to play it as if it was. The name of this work – Juba Dance – came not just from the song on the CD called “Dance Juba Dance” which is a banjo tune. And even I’ve written on the banjo, I have the phrase “Juba is my master”. But Juba was a black man born in the United States somewhere in the 1800’s. And he was born free – he was never a slave. And he could dance. And that’s all I know about Juba other than there is a style of movement called Pattin’ Juba. [http://en.wikipedia.org/wiki/Juba_dance ] Where you do some stampin’, and you slap you thigh, and your arms and the backs of your hands together. I’m sure there are moves I’ve never seen. But that doesn’t bother me. For a title it works. It gives me something ancient. And there’s a challenge in it.

I’m just recording songs not knowing whether they’re going to wind up on this CD. When I go into the studio, I record a song because I like it. I like what it does with an audience. I like the way it feels when I’m singing it. And so I did more covers, but my original tunes like “Love Looks Good on You”, I can’t say by any stretch of the imagination that it’s a blues song, but I managed to put in some Mississippi John Hurt/ Elizabeth Cotton style finger pickin’ with it. And I can get away with it. If Eric Bibb can get away with it, dag gone it, I can.
But the thing is, it’s a nice song. It reaches out, it has verses that people can relate to – they can see the little old couple holding hands. The grand kids are grown, but they’re still making plans.

Masterful finger picking.

B411: It’s universal. It really is. To me, that’s what blues is – it’s universal.
GD: Well brother, on a good day I can tap into, hopefully the universal consciousness rather than the BS consciousness which is around us all too often. The day to day consciousness and that’s a pleasure to deliver that because people, like you were saying, relate to it.

And I’ve got my Sonny Terry piece “Did You See My Baby”. People don’t know, but if you watch and listen to Sonny Terry do what he does, it looks and sounds so simple because it’s so rhythmic and direct and beautiful. But man it took me 20 years to make a sound that even resembled the sounds he made. And there I found myself on Broadway, taking over a part that he did on Broadway back in the late 1940’s. And the one blessing is that the director and the producer and the musical director said that I didn’t have to play a single note that Sonny Terry played. And I thought phewwww. Because I heard the notes that he played and I thought to myself … this is hard. But I managed to get enough of it in there so that it sounded an awful lot like what Sonny did. And so older people coming to see the Broadway revival of Finian’s Rainbow in 2009/2010 would remember hearing something very close to that in the late 1940’s. I needed to be able to do that.

B411: It also challenges you as an artist. Guy, you’re my connection, as well as a lot of other people’s connection to Sonny and them. You really are. It’s thru you that we learned about the old masters and you’re keeping their music alive, and you’re keeping it alive very much the way they would do it. Not necessarily note for note, but the feel and you’re love and passion for it comes thru. So it just makes it that much more comprehensible.

Passion is no ordinary word!

GD: I’m so full of love and passion that I need a laxative! You hear me!
Anything I don’t know, I make it up. It’s the gospel truth. I’m all about the feel and the texture. Man, when I listen to Rick Estrin playing the harmonica, it’s never been about for me how many notes he can fit into one measure. It’s about how those notes sound. The touch of it, the texture. That’s what reaches inside my chest and touches me. I mean I’ve met cats with robot lips who can play all kinds of notes, going every which way. But when they’re done with their performance I’m usually exhausted cause it’s like an athletic event. But when a cat who really has a beautiful touch on the harp plays, I’m energized. I’m all about that.

B411: Absolutely. But, a lot of guys need to take a step back and do what Rick and Kim (Wilson) do and feel the note. It’s like that with harp players and guitar players right now – everyone just wants to cram. There’s no space, there’s no breath.
GD: I heard a story once, about these two legendary masters, and for purposes of this story we say that they played the saxophone. Like à la John Coltrane or Pharoah Sanders. Something like that. And one master he would stand up in front of the orchestra and he would blow lots of notes. And he’d just up to the stratosphere immediately and the notes were all over the place and the audience comes out covered in sweat and they don’t remember a single note he played. And then the other master starts out very simple. Like he finds one note and he plays it, then two notes and he plays them. And he plays his way up very slowly and you watch him build up and up and up. And then he hits the stratosphere and he passes that on up into the ionosphere and up into where there is no more sphere. Where it’s all black where there are stars and planets where there’s solar systems. And at the end of his concert, everybody is thoroughly energized. That’s because the second master leaves room and in hall for the people that he’s playing to. Whereas the first master is so full of notes, he blows them all out the door. So nobody is actually there for the concert. They’re laying on the back, with notes. Holes from the notes that got blown thru their body.

So there are all kinds of ways to look at this. But I like to look at the human way. I like to look at the fact that yes, I like to play and I love, maybe too much, to hear the sound of my own voice and the sound of my own music. But it’s the people that we play to that make it work for me. Even in recording studios, I like to have somebody there to look at rather than those walls and baffles.

B411: Yeah, it’s a little sterile.
GD: It’s about people, the listeners.

Up close and personal . . .

B411: And you do a great job. To me, on this cruise, I’ve seen you once or twice before, but on this cruise you really seem engaged with the audience. I don’t know that I’ve remembered, but you walked out into the audience and you played to the women sitting down and you worked the crowd. And I don’t remember that. And it was great. It was the first night on the boat, and I’m like goddamn, it ain’t going to get better than this. You went in at such a high level, and it was great to see you do that. You’re a master story teller, and you know how to relate to the people and you leave that space for the interaction. You hit a note, you sing, we absorb it. And then we take that energy and send it back to you. And then you give us more. So it’s the circle.
GD: Damn, we’re getting all metaphysical.
B411: Oh, wait, I just touched his knee.
GD: And it’s the second time too! And maybe I liked it.
B411: We’re brothers from different mothers.

GD: Going out in the audience, to some extent, that’s just show business and having fun with people. But it’s more than that, it’s taking an instrument and maybe bringing it out where it’s not expected. I remember going out on the dining deck and doing a little serenading and giving an impromptu lesson. And, oh my gosh, just yesterday when the cabin got full of the paint thinner smell, or whatever the heck that was, I was temporarily homeless. So I sat out in the hallway and I played, and people gathered up there and it was just the most fun. Those are the kinds of experiences that I treasure. Where music provides relief, a little opportunity for communication, a little comradeship. Something to do while you’re drinking that keeps you from drinking too much. Whatever it is.

B411: We, as audience and fans, look to you to take us out of our day-to-day life. To give us a relief from whatever it is. Working, bad marriage, alcohol, whatever. We look to you, the artist, to take us away for 75 minutes. Just take us to another land.
GD: Well, I’ll tell you what. I want you to let your listeners, readers and observers know that I’m going to start offering on my web site www.whoopmyass.com especially for white executives who want to learn to play the blues. I have a special experience – we’re going to put you on the chain gang. Give you some leg irons, administer daily whoopins’ (not whippings) but whoopins’ and we’re going to cuss you out and make you pick cotton. And I’m not talking about your underwear up off the floor. We’re going to find a cotton field somewhere, and we’re going to hook you up. And by the end of that experience, you’re going to be singing the blues or you’re going to be dead. Maybe I shouldn’t say this, because people might start clicking on this website. (NOTE: Not a real web site.)

B411: Man, you’re going to get bombarded on that website! I got it – god all mighty, I got it. [Lots of laughing]
B411: That’s one thing that I’ve always enjoyed about you. I first heard you interviewed with Bill Wax on XM. This is several years ago. And I was like – you are funny as shit. You’re being you, you’re telling stories. You’re giving us knowledge, but you also come up with this stuff out of nowhere, which is great. Wow. Who is this guy? Oh, he’s Guy Davis.

SInging and bringing the Blues to people worldwide.

GD: Maybe I’m meant to have a radio presence because the stories, I find that people like stories. The like to be told things in a way that their mind can imagine it right way as they’re hearing it. You can just see the pictures. It’s just right there. That’s why Garrison Keillor is such a hero. Because he made up this whole fictional town, full of fictional people. But all this fiction provides us with true human insight. And I guess that’s what I want to do with the blues. I make the songs up, or recreate the older songs. But I want to rub against the human part of you. There’s some poor lady with 2 arm-loads of laundry and she’s sitting there, and the kids are screaming all around the room, and each one has magic markers and crayons attached to their hands and feet, so every wall and surface is covered with this stuff, and she’s got a husband sitting on the couch with clicker and he got on the woman’s boobie channel, I mean the something movie channel, so she’s sitting there doing that work. And then she’ll hear my voice on the radio, and then she’ll just take all that laundry and throw it up in the air and it will be so much laundry it will just cover them kids, she won’t even be able to see ‘em. Go to the husband, kick the channel changer out of his hand, catch it, and she’ll just take the car keys and walk out the front door and go drive around and just listen to my show. And her husband will be sitting there in shock.

And that’s what I’m looking for when I get on the radio and start singing the blues and carrying on. It’s fun. I want people to believe that magic is found in the human heart. In the human psyche. And blues is a part of that for me. The blues is my way of digging up magic.

Part two will be published next week, on Wednesday, January 8, 2014 where we will examine Guy’s one man play “Fishy Waters”, enjoy more stories, and broach some taboo subject matter.

Love, Peace & Chicken Grease
chefjimi

Part 2: http://blues411.com/inter...vis-part2/

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Listen to different interviews with these three artist: http://www.wbgo.org/inter...701#item_0

[Edited 2/8/14 22:25pm]

Identity said:

I think her album came out 2 weeks ago on the German label, Peripherique Records. I'm still trying to verify.

Cool let me know.

Hiatus Kaiyote Nice Tone and Soulful Jazz

INTERVIEW: HIATUS KAIYOTE

In a short span of two years, Australian band Hiatus Kaiyote has undergone something reminiscent of a global takeover, releasing debut EP/LP Tawk Tomahawk that earned them said worldwide acclaim and recognition from the likes of Questlove, Erykah Badu and Giles Peterson. The four-piece band pulls influences from every artist/genre from under the sun — J Dilla to Iggy and the Stooges to Oumou Sangare — that somehow emanates a familiar sound to our American ears, but you’d be at fault to try to slap a genre label onto the group.

Their self-proclaimed “genre” — multi-dimensional polyrhythmic gangster shit — is probably the closest you’re going to get to categorizing their music. But to put it more into perspective for you, imagine an aboriginal world music sound, throw in electronica riffs produced by Q-Tip, then slather on some Yukimi Nagano that just came from rehearsing with D’Angelo. Does that make sense? No? Yeah, it wasn’t supposed to.

To get a better idea of what the band’s about, we managed to catch up with the band for a very brief — and we mean brief — chat last week at their show at the Skirball. We chopped it up with singer/songwriter Nai Palm and the boys about Australia and why it’s so awesome, dope visuals, and how stupid genres are.

LA CANVAS: How’s life? Excited to be back in LA?

Perrin Moss: Yeah, it’s our 3rd time back in LA and it’s great to catch up with the local family — we have met some amazing artists and friends here.
Paul Bender: Yeah, we’ve made some amazing connections with people here. This time we met a homeless wizard with elaborate face tattoos who did his own leatherwork.

LAC: What’s different between playing in Australia and playing in the US?

PM: I think one of the clear differences is the number of people in every city supporting music in every genre. For us, also the type of music we all listen to and has inspired us — a lot of it has come from the states, so the history and education is here, which I guess is why people can hear the influence in our music.
PB: Australia is a giant landmass with a handful of cities separated by large distances, so touring is an entirely different experience. It’s like flying across the entirety of Europe to play 5 shows and then you’re done. So it’s kind of a bitch like that — not that we don’t care about more regional areas, but it’s hard enough finding enough people to support left-field or progressive music within the big cities. US audiences tend to be a bit more vocal; whenever we flip the groove real crazy on a track, the crowd is like “WOOOOOOOO”, whereas in Australia you’ll just hear one really enthusiastic guy scream “AWWWW FUCK YEAAAAAAAHHHH”. I love that guy.

LAC: You guys are coming out at a time when Australia is exploding into the music scene. We’re curious, why do you think that is? Why now?

Simon Mavin: Australia has an awesome world class scene of its own, especially in Melbourne. Melbourne is kinda the musical hub of Australia. I mean for Hiatus, Bender is from Tasmania, Perrin is from the blue mountains, I’m from Melbourne and Nai is from country Victoria. I think the internet has played a big part in international recognition — we got a lot of love from places all around the globe just by putting our record on Bandcamp. (Other than that) I’m not sure why Australia is exploding… maybe its something in the water?
PB: It’s because a lot of people there are super talented.

LAC: What creative process occurs when you guys are writing music?

Nai Palm: The beauty of this project is that there is no set form or method to our creativity; the common denominator in the process though, is trust — trust in the fact that what ever each member brings forth creatively will be nurtured and celebrated, or at least be given the time of day and worth the exploration. It’s very democratic allowing us all to be as connected and involved as possible, which results in the longevity of our emotional intention and less about who gets a solo.

LAC: You talk about how not only sonic pieces can be influential, but also visual can inspire music. What are some visual inspirations that went into “Tomahawk”?

NP: The opening track “Mobius Streak” is largely inspired by the artwork of M.C. Escher. He uses a lot of mathematical optical illusions in his works — namely the Mobius Strip, which is evident in his piece, “House of Stairs.” I used illusions as a lyrical theme, a myriad of metaphors through out the song, it was also a large inspiration behind the sonic layers of texture.

LAC: What direction do you want your music to take in the future?

SM: Thats not really something that we are thinking about, I mean we haven’t really had a musical direction…just play stuff that we think sounds cool!
PB: I know I personally want to do more with other instrumentalists in the future, like percussionists, strings, horns, different interesting sounds from around the world. More of an orchestrated thing for certain shows and recordings…and I think as we go on the scope will only get wider, hopefully to the point where people think of us as something other than a “soul band, or “future soul” or whatever. Like Bjork has no genre anymore, her genre is “Bjork.” We want to make something that makes people forget those classifications and draw them into the intuitive abstract vortex where music becomes transcendent, instead of this thing you try to figure out or classify. That’s the plan anyway. Or maybe we’ll try to do an Electroclash revival, get asymmetrical haircuts and do songs about fashion while playing keytars and shit.

LAC: Who are you listening to right now?

PB: Teebs, The Stepkids, Kirkis, Gris Gris, Silent Jay
NP: Emily King, Fka Twigs, Oumou Sangare, Iggy Pop and the Stooges, Alice Coltrane, Kirkis, Yaw, Skip James and currently revisiting D’Angelo for the billionth time but i give myself a rest from it so it can be kinda new again.

LAC: Favorite remix off of “Tawk Takeout”?

PB: Mine is Clever Austin’s remix of Boom Child. Clever Austin is Perrin, BTW. And he is very clever, isn’t he?

LAC: What are five things you need with you at all times while you’re on tour?

NP: The elements: water, fire, earth, etc. White sage, Palo Santo, nurturingly totemic trinkets for sanity and ritual, bling.

Posted by: Brad Bershad

Veterans of 8 years and 5 releases, Lake Street Dive bring old school sensibilities to up-tempo pop music. The group was featured on The Colbert Report on Wednesday this week, performing two songs and sitting down with Colbert for an interview to promote their upcoming album, Bad Self-Portraits which is due out on February 18. Check out the 3 clips below…

During the interview, the group talks about their history, and how they met at the Conservatory of Music in Boston. They talk about learning music from the perspective of jazz musicians, and how they got the name for Bad Self Portraits. As with most Colbert interviews, you can see the guests are just trying to hold on for the bumpy and brilliant ride that Stephen takes them on. This was followed by two performances…

http://www.rachaelprice.net/

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http://www.lakestreetdive.com/

During these songs, the band features Rachael Price as lead singer, Mike Olson on guitar, Bridget Kearney on upright bass, and Mike Calabrese on drums. All the members of the band have been known to contribute in other ways on previous records, and they all provide backing vocals here as well.

The first song, “You Go Down Smooth,” is a bluesy boogie that showcases all the band members showing their prowess. You can hear a lot of Motown influences, as well as some classical vocal chops and a modern indie vibe. The band brings great energy, and Price is a dynamo of a frontwoman with an incredible voice and charisma.

Solo Debut 2008

The web exclusive, “Rabid Animal,” sounds more like a ’70s rocker but the upright bass gives an interesting and classic organic quality while also sounding fresh. The breakdown at the end almost sounds like Bruce Springsteen’s “Tenth Avenue Freeze-Out” which is a very good thing, as far as I’m concerned. This is soulful modern rock and roll.

Pre-order Bad Self-Portraits at iTunes and Amazon.

Video of performance: http://zumic.com/music-vi...lu-videos/

AlunaGeorge

https://www.facebook.com/alunageorge

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AlunaGeorge, featuring chanteuse Aluna Francis, is quickly becoming one of the breakout bands of 2013. Consisting of Francis and producer George Reid, the electronica group combines intimate vocals with synthesized pop, house, R&B, and dub-step. Though already pretty big in the UK—the duo nabbed second in BBC's Sound of 2013 contest—Francis' voice will likely get way more air time in the US in the coming year.

Francis, who is half Indian and half Jamaican, worked as a reflexologist and previously sang for the band My Toys Like Me. She first met Reid when he remixed one of My Toys' songs, and they paired up and released their first commercial single ("Your Drums, Your Love," above) late last year. Though minimalist and futuristic, AlunaGeorge's songs are made human by Francis' velvety touch. She imbues the pulsing drive of a late-night dance tune with soulful emotion, and her high-pitched timbre balances well with Reid's beats, to a mysterious but alluring effect. "You can't say I'm going nowhere, when you don't know where I am from," she croons. On the contrary, I'd say she's barreling straight toward stardom. AlunaGeorge's debut album, Body Music, is now out.

Sarah Dugas

EP available on itunes: https://itunes.apple.com/...d448770219

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http://www.dugasmusic.com/

Though these two Dugas siblings have made quite the sound waves each in their own right, you always know that when they are apart, it’s only temporary. Sure enough, in 2007, their respective joining of the Canadian Juno-winning and Grammy-nominated, The Duhks, was staggered over a mere couple of seasons.

Hailing from the French quarters of Winnipeg, Canada, they grew up on a varied regimen of vinyl records, courtesy of their musician parents. While never denying their wide-ranging musical tastes, they vicariously immersed themselves in Southern music and this unmistakable connection expanded into a full-blown musical path. They have since shared the stage with the likes of John Paul Jones, Los Lobos, The Dirty Dozen Brass Band, The Wood Brothers, The Blind Boys of Alabama, Arrested Development and the Zac Brown Band to name a few.

Amazing vocal skills:

As international touring and session musicians, Christian and Sarah have held on to the dream of launching their own project… Still deeply rooted in Southern music and culture, their sound draws from Roots, Rock and old school Soul. They bring a hard-hitting, dynamic and heart-felt energy to their diverse original compositions, improvisations and a few chosen covers – all of it, delivered with the awe-inspiring vocal and musical chemistry only seen amongst siblings. New CD due 2014

JoeBala said:

Identity said:

I think her album came out 2 weeks ago on the German label, Peripherique Records. I'm still trying to verify.

Cool let me know.

Ira May's album Spell came out on January 24th in European markets as well as iTunes Sweden. So far my attempts to locate it on imported CD sites have been fruitless.

Identity said:
Ira May's album Spell came out on January 24th in European markets as well as iTunes Sweden. So far my attempts to locate it on imported CD sites have been fruitless.

Thanks ID I'm so looking foward to it. I see there is a Vinyl on ebay, but they want $40 for it.

Mononoke - "Bones & Glory"

This is the second track from this UK-based artist.

facebook.com/mononokeofficial

[img:$uid]http://i.imgur.com/mb29loP.jpg[/img:$uid]



Feist: Short Tour
February 14, 2014



It's been quite a while since fans have heard a new album from Feist: 2011's Metals, to be exact. But the singer/songwriter is taking to the road this April for a mini-tour of solo shows at intimate venues, which she's dubbed The Mettle Tour.

The shows run from an April 7 date in Halifax, Nova Scotia to an April 11 show in Portsmouth, NH. Ticket for the first three shows go on sale Friday, February 14.

Tickets for the Portsmouth show go on sale April 15.

Here are the dates for The Mettle Tour:

04/07 -- Halifax, NS, Rebecca Cohn Auditorium
04/09 -- Northampton, MA, Calvin Theatre
04/10 -- Tarrytown, NY, The Tarrytown Music Hall
04/11 -- Portsmouth, NH, The Historic Theater

New CD is out. http://alyssareid.com/

Alyssa Ashley Reid (born March 15, 1993) is a Canadian singer/songwriter born in Edmonton, Alberta, and raised in Brampton, Ontario.

Reid rose to fame in 2011, following the release of her single "Alone Again" (notable for its use of the chorus and part of the first verse of "Alone" by Heart).

Interview

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Acoustic version

New single