Discerning urban jazz fans searching for something new to get jazzed and
groove about don’t need to have A Vicarious Experience to make it
happen—they just need to get hip to the melodic and cool old school soul
meets contemporary funk of veteran saxophonist Reggie Codrington. While
the Fayetteville, North Carolina native is new on many people’s radars,
he’s actually been performing and recording since the early 90s and has
eight previous CDs, several under the name Reggie C; the most recent of
these are Sunny Days (2008), Vision of Dreams (2010), Christmas With
Pops (2009) and Journey Back Home (2005), which was produced by Phil
Davis, who has worked with Stanley Clarke, George Duke and Al Jarreau,
among many others.Produced by and featuring the tenacious bass playing of Brian Morgan
(whose many credits include George Benson), A Vicarious Experience finds
Codrington—whose primary voice is the curved soprano sax--in a
romantic, optimistic mood, using the changing vibes of the songs (and
the listener’s imagination) to chronicle the ups, downs, excitement and
challenges of a romantic relationship from track to track. While many
artists cite their parents as prime influences on their careers,
Codrington takes that one step further, inviting his father Ray—who
helped Codrington develop his skills and learn improvisation—to play
trumpet throughout the recording.“When I make a record, I always want to have a warm sound with
harmonies,” he says, “and in this case that means having dad play a lot
of horn parts and percussion. When we were making the album, I found
myself in a 70s and 80s type groove, inspired by everyone from De La
Soul funk rhythms to Sade and Parliament. I grew up listening to old
school R&B/funk so that’s a pretty natural influence for me. The
process began with Brian sending me some great tracks and me putting
melodies to them, then arranging harmonies and atmospheres around my
lead sax. The romantic story thread emerged from the emotions I was
experiencing at the time with the lady I was dating. I thought it might
be fun to invite people into my musical heart this way.” REGGIE CODRINGTON
Carmen Lundy began her professional career in Miami, FL as a jazz
vocalist and composer when there were very few young, gifted and
aspiring jazz vocalists on the horizon. Over four decades later, Ms.
Lundy is celebrated throughout the world for her vocal artistry and is
highly regarded for her jazz innovation.Currently on the Afrasia
Productions label, Carmen is releasing her 14th album in the Fall of
2014. Almost two years in the making, “Soul To Soul” consists of new
original songs by Lundy, and a few very special collaborations. The
album features legendary artists - specialists on their respective
instruments - including Patrice Rushen, Geri Allen, Randy Brecker, Ada
Rovatti, Warren Wolf, Bennie Maupin, harpist Carol Robbins, and Simphiwe
Dana, a stunning South African vocalist and composer, among others.The
highly regarded 2012 release “Changes” (Afrasia Productions) is on
several ‘Top 10 Albums of 2012’ lists, and continues to garner both
critical and popular acclaim. Said James Nadal of All About Jazz, “With
her release of Changes, veteran singer Carmen Lundy rises to that
proverbial summit to enjoy the rarefied air of the chosen few.” Terri
Lyne Carrington’s Mosaic Project - Grammy Winner for Best Jazz Vocal
Album of 2011- features the Carmen Lundy composition “Show Me A Sign”,
with Ms. Lundy’s original performance from the album “Solamente”
reinvented on the arrangement. CARMEN LUNDY
Vocalist, saxophonist and songwriter/arranger, bluesman Bobby
Hurricane Spencer started his musical career in Oakland but now calls
Los Angeles home. He cut his teeth in the Chitlin’ Circuit of the Bay
Area, anchored dead center in the horn section of the funk bands of
Johnny Tolbert and De Thangs and Marvin Holmes and the Uptights.Spencer played in such historic 7th Street soul pumping clubs as Al's
House of Smiles, the Showcase, the Sportsman, Ester's Orbit Room and
the Continental Club. Later came the Shalamar and Troyce Key's famous
Eli's Mile High Club.One night on the bandstand, after a particularly hot sax solo, J.J.
Bad Boy Jones turned to the tenor man and said, "Bob, you the
Hurricane!". It stuck and that’s what he’s been called ever since.His trademark sound can be found on records by Timex Social Club,
Sonny Rhodes, JJ Bad Boy Jones, Jimmy McCracklin, just to name a few and
his original music appears on the Grammy nominated Force of Nature
album by Koko Taylor.When not busy as a session player in Oakland, recording for Fantasy
Records’ Ray Shanklin with Little Johnny Taylor, Rodger Collins and
others, you could find Spencer playing behind such legends as Etta
James, the Whispers, Carla Thomas, Lowell Fulsom, and ZZ Hill and
opening for musicians like Bobby Blue Bland, Otis Redding, Marvin Gaye,
The Temptations, and Smokey Robinson. A little known fact, Rolling Stone magazine recently revealed that an
early festival where Spencer performed was an historic event as
documented in the Untold and Deeply Stoned Story of the First U.S. Rock
Festival where the Doors, Byrds and nearly 30 other bands made history
at Fantasy Fair & Magic Mountain on Mt. Tamalpais. BOBBY HURRICANE SPENCER
TONY LEVIN: Since graduating from the Eastman School of music, Tony has become the bass and Chapman Stick voice for Peter Gabriel
and King Crimson. In addition, he has played on notable recordings for
John Lennon, Pink Floyd, Lou Reed, Alice Cooper, Dire Straits, Carly
Simon, Judy Collins, and many others. Tony has major jazz credentials,
having worked with Buddy Rich, Steps Ahead, L'Image, Gary Burton, Chuck
Mangione, and Herbie Mann. He currently records and tours with Peter
Gabriel, King Crimson, Stick Men, and The Crimson ProjeKCt. PETE LEVIN: As a French Horn major, Pete earned a master’s degree from
the Juilliard School. In the early ‘70s he switched to keyboards,
becoming a synthesizer specialist in the New York City recording studio
scene. Over the years, he has graced hundreds of jazz and pop recordings
and performances by the likes of Miles Davis, Gil Evans, Jimmy Giuffre,
Dave Brubeck, David Sanborn, Joe Louis Walker, Don Elliott, Freddie
Hubbard, Annie Lennox, Charles Mingus, Jaco Pastorius and Wayne Shorter.
He currently records with his organ trio with Dave Stryker and Lenny
White. LEVIN BROTHERS
Electro swing projekt with old jazz and a positive vibe. Members: Per Ebdrup and Karina Kappel. The debut album "Electro Swing Republic" was released 7th feb 2011 on Freshly Squeezed. The album second "Midnight calling" was released 5th november 2012,
also on Freshly Squeezed. The tracks on this album are original
compositions written and performed by Swing Republic and additional
musicians. Produced and mixed by Per Ebdrup. Co-produced and Co-mixed by
Jakob Sejer-Nielsen.
Swing Republic combines the spirituality
and emotional expressions from the past with the electronic technology
of the future. Open-mindedness of the hippie culture and hypnotic
rhythms of industry. A globalized and worldly mindset. "Emotional
Technology" is one of the leading principles in the approach to the
musical landscapes and cities of Swing Republic. In the city
Techville the machines live with beautiful manipulation and physical
rhythm. In Emotia the sound and shades from the past live in the shape of legendary jazz artists, old movies and with complexity in emotional communication. Ethnico City is home of percussion and many other
instruments. They live in beautiful disharmony and mutual inspiration.
Giant parties where inhabitants from the cities get together and mix
with each other in a relaxed - yet intense atmosphere. SWING REPUBLIC
Some of the jazziest, most spiritual music we've heard from Nostalgia 77
in years – a great return to territory they started hitting towards the
end of the last decade – and a record that's got a rich, organic sound
right from the start! The album's a jazz set through and through –well-conceived with lots of modal rhythms, topped with soaring lines on
saxes, trumpet, and flute – which are all held together by these
richly-colored piano lines that create a lot of warmth, without ever
softening the edges of the music. The approach is quite similar to some
of the recent Gondawa recordings by UK contemporaries Matthew Halsall
and Nat Birchall – and titles include "Measures", "Apple", "Thoughts To
Geoff", "Scallywag", "Rules", and "Island In The Sun". NOSTALGIA 77
Acclaimed indigenous vocalist Emma Donovan and Melbourne rhythm combo The PutBacks come together to bring you Dawn,
an LP of hard hitting and heartfelt soul songs telling stories of
grief, struggle and redemption. Dawn is a gritty, uniquely Australian
record, simultaneously classic and contemporary. The songwriting is in
turns optimistic, angry and melancholic, and on occasions bruisingly
honest. The music is fluid, live and raw, recorded in one room on eight
channels of analog tape and the electric connection between Emma and the
band comes through in every beat.The PutBacks have established themselves as one of the premier funk outfits in Australia. In their career they have opened for
The Bamboos, Electric Empire and Clairy Browne & The Bangin’
Rackettes, as well as international funk and soul icons The Menahan
Street Band featuring Charles Bradley, and Booker T Jones. In May 2012
The PutBacks were chosen as the house band for the infamous Prince after
party at the Hi Fi Bar. The PutBacks were also house band for Arts
Centre Melbourne’s 2011 and 2012 Big Notes production, featuring the
likes of Emma Donovan and Mantra. EMMA DONOVAN & THE PUTBACKS
Born in Folkston (Georgia,USA), Karl W. Davis grew up during a time of soul music and social change in the south. As a result of his exposure to this golden era of gospel crossover radio hits, Karl developed a singing style part fire and brimstone preacher, part velvet voiced lover and part down home working class blues man. Each phrase is delivered with such intensity and emotion there is no doubt it is the absolute truth. As a songwriter and performer, Karl W. Davis is a soul man of deep sensitivity, incapable of pretense, who is a genuine example of the undeniable power that only a true messenger of love can wield responsibly. When Karl envelops his audience with the warm embrace of his voice and his authentic charismatic presence, hope is generated, shining smiles prevail. And if even one heart is touched in a real way, then his goal as a bringer of joy is a complete success ! The Sweetpeas A band of brothers brought together by common goals, inspire Karl to new heights, beyond what he may have previously imagined and reate original compositions while respectfully showing their love for the greatest soul, blues and funk artists. KARL W. DAVIS AND THE SWEETPEAS
Larry was brought up in the inner city of Cincinnati, Ohio by a single
parent along with nine other siblings. The dilapidated three tiered
tenement literally shook with the radio and vinyl record sounds of
everything from blues, gospel, and soul, to jazz. It was in this
fertile, eclectic musical environment that 9 year old Larry first picked
up a pen and copied the lyrics of Willie Dixon, Bob Dylan, Laura Nero,
Billy Strayhorn and countless others. Larry marveled at these wonderful
storytellers and it eventually led him to write his own stories.
Two brothers returning from the military armed with funds from the GI
Bill allowed the Griffith family to upgrade to the Walnut Hills section
of Cincinnati, which housed the legendary King Records. Seeing great
artists in the neighborhood like Freddie King, Bill Doggett, Hank
Ballard, Ivory Joe Hunter and even the Godfather of Soul himself James
Brown was an ordinary occurrence. As a matter of fact it was Wesley
Hargrove of Hank Ballard’s Midnighters who first took 16 year old Larry
into Federal Records recording studio to drum on several demos. This
led to stints as a session drummer, weekend touring and a bird’s eyes
view of the not so pretty side of the business all while still in his
teens.
Jimi Hendrix’s Band of Gypsys had a profound effect on Larry because of
the way Jimi married sonic sounds with futuristic, introspective lyrics.
It was also around this time that he fell in lifelong love with the
lyrical phasing of John Coltrane.
Relocating to Atlanta, Georgia in the 1990s, Larry discovered then
quickly became immersed in the thriving Atlanta blues scene. It was
here he had finally found a musical genre wide enough to accommodate his
eclectic tastes. Still, it wasn’t until the early 2000’s that “the
dream” turned everything on its ear.
While staying at a backwoods motel in Clarksdale, Mississippi, Larry who
previously had no designs on or inclinations toward guitar experienced
the same dream three nights in a row. In “the dream”, he was onstage
ripping it up on guitar like a man possessed, working the deep delta
juke joint crowd into a sweet, sweaty frenzy. Fully awakened, Larry
came back to Atlanta and told his friend and bandmate, Chicago Joe Jones
of his strange dream. It was Joe who then gave Larry his first guitar,
a no-name something or other that he had found at a garage sale for a
$1. From these humble beginnings and equipped with the visual of the
Mississippi delta dream, Larry strapped on, plugged in, turned up and
began chipping away.
LARRY GRIFFITH
