Singer-songwriter Hollie Smith is a leading vocalist in the New Zealand music scene. She has collaborated with Trinity Roots, Fat Freddy’s Drop, Don McGlashan, One Million Dollars, Anika Moa and Boh Runga.
Hollie Smith has a deep, rich and soulful singing style. Hollie’s wide range of musical influences combine elements of soul, jazz, reggae, Celtic and R&B.
Legacy and Alchemy is an impressive 2-CD album by American jazz and soul vocalist, pianist and arranger from Atlanta. Legacy and Alchemy brings together the rich traditions of American jazz and sol and Brazilian music. Don’t mistake this album with the slick smooth bossa nova Americans tend to record. Alexandra’s music has more depth and she incorporates progressive jazz, irresistible samba and other elements.
The list of guests is extraordinary, featuring current stars from Brazil and USA as well as iconic artists who have passed away. The list includes: the late Miles Davis, the late Antonio Carlos Jobim, the late Oscar Castro-Neves, the late Al Jarreau, and the late Rod Temperton, along with Ivan Lins, Dona Ivone Lara, Carlinhos Brown, Banda Black Rio, The Jobim Trio (Paulo Jobim, Daniel Jobim and Paulo Braga), Larry Dunn, Al McKay, Hubert Laws, Siedah Garrett, Robertinho Silva, Larry Williams, Arthur Maia, Ricardo Silveira, Darryl Jones, Teo Lima, Armando Marcal, Marco Brito, Marcelo Martins, Jesse Sadoc, Orquestra Atlantica, Max Viana, Pretinho da Serrinha, Chris Walker, Darryl Tookes, Curtis King, Paulo Calasans, Marcelo Mariano, and Maestro Charles Floyd conducting The Bossa Nova Noites Orquestra.
Legacy and Alchemy was masterfully recorded and produced and highlights the highly expressive, remarkable vocals of Alexandra Jackson who gracefully delivers soul and jazz vocal styles, singing in English and Portuguese.
American composer, songwriter and vocalist Eleanor Dubinsky uses various musical genres to express her finely-crafted songs. She has a delightful, engaging vocal style and her lyrics transmit her concern for the marginalized, longing and understanding of human beings from diverse cultures.
On Soft Spot of My Heart you’ll find a captivating collection of songs that incorporate jazz, gospel, soul, Americana, pop and world music elements.
The album was recorded in Portugal and New York City, which allowed Dubinsky to collaborate with a group of artists representing different musical genres and nationalities, including musicians from New York, Brazil, Cape Verde, and Portugal.
Eleanor Dubinsky spent several years abroad in Europe, Argentina and Mexico, where she learned French and Spanish. She writes her songs in English, French and Spanish. Meanwhile, she was exposed to Cape Verdean and Angolan music. Portuguese-Cape Verdean singer Sara Tavares became a major influence. Eleanor Dubinsky met of the musicians Tavares works with frequently. Three of these talented musicians, bassist Rolando Semedo, percussionist Miroca Paris, and drummer Ivo Costa appear on Soft Spot.
Dubinsky sings in Spanish on two songs. “El sabor de la vida,” includes a fascinating mix of world percussion, soulful vocals and gospel. “Cuando voy a mi trabajo” features vocals in three languages and is the most world music-oriented track featuring global rhythms, great bass lines and acoustic guitars.
There’s a great blues-infused climactic song titled “I Let Go,” in which Dubinsky adds cello, which is one of the instruments close to her heart.
Robert Randolph & The Family Band – Got Soul (Sony Masterworks, 2017)
Robert Randolph puts his latest recording with The Family Band called Got Soul this way, “The music takes me back into the roots of who I am, where I came from. It’s got an upbeat, positive church/gospel/rock/bluesy vibe to it. I’m like a rock and roll preacher on Got Soul.”
Yeah, “rock and roll preacher” just about sums the indefatigable sparkle Mr. Randolph & The Family Band lays down on the Grammy nominated Got Soul. In the way of previous recordings like Unclassified (2003), Colorblind (2009), We Walk This Road (2010), Born Again (2013) and Lickety Split (2013), Mr. Randolph and company have listeners veering off onto a wild musical ride where the colors of soul, funk and gospel run deep and vibrant. Searing and warmly exuberant, Got Soul proves irresistible as it embraces elements of rock and roll, blues and jazz to create a flattering mix.
Songwriter, vocalist and pedal steel guitarist Robert Randolph is joined on Got Soul by a whole host of kick ass musicians like electric guitarist Johnny Gale, Hammond B3 organist Raymond Angry, electric bassist Derrick Hodge, drummer Marcus Randolph, percussionist Bashiri Johnson, Hammond B3 Organist Shedrick Mitchell and backing vocalists Lenesha Randolph, Candice Anderson and Stevie Ladson. Guest vocalists Anthony Hamilton, Cory Henry and Darius Rucker lend their talents to make the soul stew even richer.
Opening with the fiery title track “Got Soul,” Mr. Randolph & The Family Band pulls out all the stops and dishes out a track that will have the most reluctant listeners jumping up and grooving to the music. Ramping up the goodness with “She Got Soul” with Anthony Hamilton on vocals, Randolph and company stokes the fire with some smoking guitar licks, sassy vocals and an irrepressible joyfulness. Darius Rucker takes his turn with vocals on “Love Do What It Do” backed by an intoxicating mix of pedal steel guitar, electric guitar, electric bass and Hammond B3 organ, not to mention some seriously fine backing vocals.
If that weren’t enough, Got Soul boasts the deliciously funk inspired “Shake It” edged by some sizzling brass lines laid down by saxophonist Jeff Coffin and trumpeter RaShawn Ross. The pedal steel guitar opening of Isaac Hays and David Porter classic “I Thank You” should not be missed and it just gets better with addition of organ and vocals provided by Cory Henry. Equally delightful are offering like “Be the Change,” “Heaven’s Calling” and the funk groove of “Find a Way.” “Travelin’ Cheeba Man is a raucous personal favorite. “Lovesick” and closing track “Gonna Be All Right” are just as delicious.
If you can listen to Got Soul without dancing, tapping a toe, raising arms skyward or at the very least nodding your head, seek professional medical or spiritual attention immediately.
The Neville Family is a gifted musical and creative family in the United States. Ivan Neville began absorbing the musical attitudes of his family at birth and learned to play keyboards guitar bass and drums.
It wasn’t long before he became a pivotal member of Bonnie Raitt’s band Rufus Keith Richards & the Xpensive Winos and the Spin Doctors.
Ivan launched his solo career with the acclaimed If My Ancestors Could See Me Now and Thanks. Ivan also wroteand co-produced Saturday Morning Music which includes a timeless hybrid of soul, rock and New Orleans Funk that translates into an incomparable modern musical gumbo.
Billy Preston’s career spanned five decades, starting as a child prodigy playing the movie role of young W.C. Handy and then playing organ for Ray Charles and Little Richard. His accomplishments are highlighted by a seriesg of hits, including collaborating with some of the most celebrated names in the music industry, The Rolling Stones, Aretha Franklin, Bob Dylan, The Jackson Five, Sly and the Family Stone, Barbara Streisand, Sammy Davis Jr., Quincy Jones and perhaps the most famous of all, The Beatles.
Billy’s relationship with The Beatles led to his signing with Apple Records in the 1960s. Billy is widely acknowledged as the “Fifth Beatle” having been the only party to ever hand his name included in the label credits of the Let It Be and the Abbey Road albums as well as the landmark The White Album. Billy also appeared with them in the films “The Complete Beatles” and Let It Be as well as performing as part of them during their historic rooftop final concert.
In the late 1960s Billy worked with John Lennon and Yoko Ono on their solo Plastic Ono Band album as well as Ringo Starr’s solo single “Oh My My” and he participated in George Harrison’s American Tour. In addition Billy Preston was a leading character in the movie Sgt. Pepper’s Lonely Hearts Club Band also featuring Peter Frampton and the Bee Gees, performing a stunning version of “Get Back”.
Preston’s name and fame were solidified as a solo artist when he scored a series of Number 1 hit singles including the Grammy winning “Outta Space”, “Will It Go Round In Circles”, “Nothing From Nothing” and “Space Race”.
A prolific writer, Billy Preston composed the multi-platinum standard “You Are So Beautiful” that was performed by his friend Joe Cocker. He also wrote the title songs for a series of box office hits including “Never Gonna Say Goodbye” “Fast Break” and “O’Hara’s Wide”. The title song from “Fast Break” became a Preston classic hit when performed as a duet with the late Syreeta Wright. Billy also co-wrote the score for the Sidney Poitier movie “They Call Me Mr. Tibbs” with Quincy Jones.
Billy Preston was the first black musical director of a late night television show “Nightlife” starring David Brenner, was a regular on the UPN series “Good News” and made a cameo appearance in “Blues Brothers 2” as part of the super group that included Eric Clapton and Stevie Winwood and B.B. King among others.
Billy’s participation in the tribute concert “Concert for George Harrison” at Royal Albert Hall and his performance of “My Sweet Lord” received critical acclaim. Billy recorded on the last album his mentor Ray Charles was to record, toured with The Funk Brothers and Stevie Winwood in Europe in early 2004 and then hit the road, touring extensively and garnering rave reviews for his performances with his dear friend Eric Clapton through Europe and North America. Billy’s keyboard dominance was highlighted with the release of the “Let It Be–Naked” album issue.
With his extensive touring and studio involvement Billy Preston found the time to create special project tribute to his dear friends The Beatles. He even wrote two new songs, one in tribute to George Harrison and another to all four of the fab fellows, “John, Paul, George and Ringo”.
Antonio Manuel Álvarez Vélez, better known as Pitingo was born into a seafaring family in the city of Ayamonte in Huelva, Spain, in southwestern Spain.
After going to school locally, he moved to Madrid where he started performing in underground flamenco clubs, eventually ending up with a weekly gig at the flamenco bar El Mago (The Magician), a regular spot of flamenco’s greatest vocalists, such as Enrique Morente and Carmen Linares. He soon debuted at festivals and theaters across Spain and was signed to Universal Music.
Pitingo’s first album, Pitingo con habichuelas, brought together the singer with worldclass guitarist Pepe Habichuela. Pitingo quickly distinguished himself from other flamenco singers with his unconventional R&B and Gospel approach to flamenco.
In 2008 Pitingo released his first major effort to fuse flamenco with soul and gospel traditions, Soulería. The word-play of the title refers to the flamenco musical style called bulería. Pitingo followed that release with 2010’s Olé and Amén that featured the London Community Gospel Choir.
Pitingo’s Malecón Street (named for the famous Havana seaside promenade) expanded his flamenco soul style to the streets of Old Havana with a collection of classic Cuban songs from decades past.
If you haven’t heard yet about Daymé Arocena, her new album Cubafonía is a great opportunity to listen to one of the best voices that has come out of Cuban in recent years.
Winner of the significant Marti y el Arte award in 2007, Daymé Arocena demonstrates her formidable talent by crossing musical boundaries with her voice. She shows her mastery at Cuban traditional genres like mambo and changüí, Afro-Cuban chants, and ballads, as well as the more modern timba. However, her repertoire is more extensive as she explores American soul and jazz effortlessly.
Cubafonía is Daymé’s second album and very different from her debut album. While her debut Havana Cultura Sessions focused on electronic dance music culture, Cubafonía features an irresistible acoustic rhythm section and more conventional instrumentation.
Most of the songs are in Spanish, although Daymé also sings a couple of songs in English and has a trilingual song titled “Valentine” where she inserts some English and French.
In recent months, Cuban musicians have released a series of dazzling piano-based albums. Cubafonía focuses on vocal talent and Daymé Arocena is one of the best and equally spectacular.
Composer and keyboardist Doug Duffey takes you back to the classic sound of 1970s soul and funk on Louisiana Soul Revival’s debut album. The self-titled release features funk beats, a splendid brass section, wah wah guitar and some northern Louisiana spice.
The band features up to 11 musicians on stage, representing several generations, from twenties to sixties. The lineup includes Doug Duffey on vocals, piano and keyboards; Daniel Sumner on guitar; Ben Ford on bass; Adam Ryland on drums, percussion; Cody Holder on baritone saxophone; Jonathan Patterson on trombone; Mason Howard on alto saxophone; Bert Windham on trumpet; Betsy Lowe on backing vocals; Naomi Holder on backing vocals; and Alex Noppe on trumpet.
Louisiana Soul Revival delivers a tight set of persuasive soul and funk songs.
William Bell’s new release This Is Where I Live on revived Stax Records keeps the same spirit, and purpose (or telos to quote the ancient Greeks,) as the label’s releases in 1950’s, 1960’s, and 1970’s: that of an unashamed articulation of a Southern humanist musical accent true to local values that transcends or transfixes a listener.
Years after the heyday of Stax Records Soul music, William Bell is back at it with the similar compositions, all produced to feel as clear as any new style of song and not to mimic an old one. This time his song is much graver than it was the case for his older songs such as his “A Tribute To A King” on The Very Best Of William Bell. His songs are lyrically complex and it gives his music a valuable quality: his songs must be listened to more than once in order to feel a complete plunge into them. They are not as complex instrumentally, but that’s all right.
Much has been put in these songs lyrically; the simplicity in their instrumentation, as it’s always the case for William Bell, is deceptive. “Poison in the well” is an enjoyable listen and sounds like a metaphor, as fairy tales or myths seem to all be. He sings “she put poison in the well / and I drank it” with so much ease and faith in the experience that he persuades us that it’s only normal to. If it is an attempt at singing a myth: congratulations. “Mississippi – Arkansas Bridge” is a long song that requires the same listening into as a short story or a novel.
Bell’s singing style is that of a singer of beautiful troubadour epics or of beautiful troubadour narratives – he articulates the words and the ideas that make his songs logical letting this story swoon as much as his voice. It is the most impressive element of the album and should exist more in American song. The language of the songs’ lyrics is fairly simple and, given the possibilities that come with his singing style, these songs could have worked with much more complex language. It would have been even better to hear him sing us words that impress.
Stax Records Soul meant to meld the erotic and the political into one burning experience. Bell’s songs will unhinge some with their eroticism but will not for others.
Listeners who were not around for Stax’s greater days and who are now left with old recordings will find in this album the possibility of listening to a renewed, and clear, version of Stax soul.