The legacy of reggae vocalist Denroy Morgan has been passed on to his
sons, who have performed as Morgan Heritage since 1991. While its
mellow, R&B-influenced vocals and Rastafarian lyrics have been
compared to Garnett Silk, the group has continued to pave its own
musical path. The band's many hits include "Let's Make Up," "Tell Me How
Come," "Set Yourself Free," "Mama and Papa," and "Protect Us Jah."
Initially an octet featuring eight of Morgan's 29 children, Morgan
Heritage began recording in the early '90s. Although they attended
school in Springfield,
Massachusetts, they spent their weekends in their
father's recording studio in Brooklyn. Their debut single, "Wonderful
World," was produced by their father and released in 1991. An album,
Growing Up, followed shortly afterward. The first break for Morgan
Heritage came the following year when they performed at Reggae
Sunsplash. Their performance was so impressive that MCA offered a
recording contract almost as quickly as they were off the stage. Their
first album for MCA, Miracle, released in 1994, was a major
disappointment as the album clung to mass market reggae formulas.
Touring the Ivory Coast in 1995, Morgan Heritage rediscovered their
musical roots. Toward the end of the year, the group traveled to Jamaica
to record their next album. Recording during the day with Lloyd "King
Jammy" James and at night with Bobby "Digital" Dixon, the group took a
major leap forward. Shortly after releasing their second album, Protect
Us Jah, in 1997, Morgan Heritage were reduced to a five-piece. In
addition to Una Morgan (born 1973), the group included
keyboardist/vocalists Peter Morgan (born 1977) and Roy "Gramps" Morgan
(born 1975), rhythm guitarist Nakhamyah "Lukes" Morgan (born 1977), and
percussionist Memmalatel "Mojo" Morgan (born 1981). Don't Haffi Dread
from 1999 and More Teachings from 2001 continued to carry the roots
reggae torch while Three in One from 2003 broadened their sound a bit
with a guest appearance from the alt-rock band Good Charlotte. Full
Circle from 2005 featured the massive Jamaican hit "Tell Me How Come"
and was followed a year later by the live album Live: Another Rockaz
Moment. Mission in Progress arrived in 2008 with the singles "Raid Rootz
Dance" and "Love You Right." The 2009 compilation The Journey Thus Far
rounded up their hits, while their 2013 effort Here Come the Kings
featured the single "Perfect Love Song" along with a guest appearance
from Shaggy. Shaggy returned for 2015's Strictly Roots which was
released by the band's own label CTBC (Cool to Be Conscious). The album
also featured appearances from J. Boog, Chronixx, Bobby Lee of SOJA,
plus solo artist and son of Gramps, Jemere Morgan. MORGAN HERITAGE
Departure Ave. were born in Rome in the summer of 2012. Six months later their first “All the Sunset in a Cup” appears. The
album, self-released, immediately received excellent reviews from the insiders and turned a light on the band. After
the album was released the band has begun the collaboration with Bomba
Dischi, the independent label which released “Yarn”.
Yarn is the second album by Departure Ave.
A rock album, oblique and visual, jazz coloured but also characterised
by different tinges and suggestions that recall electronic and reggae
music.
This album is a collection of twelve fables, each taking place in a
different setting, brought together by the fact that they have all been
conceived in the same place. DEPARTURE AVE
Proclaimed
“a staple of the Midwest’s band scene” and “a festival favorite” by the
Milwaukee Journal-Sentinel, Altered Five’s delectable brew of blues and
soul has a wide audience taking notice. The quintet's sophomore album,
Gotta Earn It, is a 10-song set featuring seven originals. Singer Jeff
Taylor’s powerful voice anchors the sound and drives home the message in
songs like the brooding ballad “Three Wishes,” the wistful, burning
blues of “Older, Wiser, Richer,” and the yearning “Mona Lisa.” The
rhythm section of drummer Scott Schroedl and bassist Mark Solveson
grooves hard and enjoys telepathic interaction with keyboardist Raymond
Tevich and guitarist Jeff Schroedl. Guitar World magazine raves that
Schroedl has “hi-tech chops” and contributes “superlative solo work.”
The group also puts its stamp on three covers: a driving, bluesified
take on the early Marvin Gaye hit “Ain’t That Peculiar”; a revved-up
reading of Buddy Guy’s 1961 Chess recording “Watch Yourself”; and the
cool, sassy groove of another Motown original, “You’ve Got to Earn It.”Award-winning
blues journalist Dave Rubin declares: "As authentic as a tangy Memphis
soul stew, Altered Five breathes fire into deep groove, original R&B
and blues. Led by the passion and polish of barrel-chested singer Jeff
"JT" Taylor and the explosive, fret-bending guitarist Jeff Schroedl, the
five blues brothers play vital music that nurtures the spirit and moves
the body."ALTERED FIVE BLUES BAND
Free of genres, EYOT brings a beautiful eclectic sound that swims from rock to jazz, punk and ambient, impressionism to
romanticism, all
formed into strong compositions. Their live performances are filled with
energy and emotions that bring the listener deep into their personal
world and create a unique experience.After their critically acclaimed albums “Horizon” and “Drifters” that
brouth them more then 100 concerts in 18 countries, EYOT brings us
“Similarity”. Forged in Nis - Serbia, Crafted in Bristol UK, produced by
Get the Blessing’s Jim Barr, this album brings a mix of many styles.
Pink Floyd mixed with Nirvana, Radiohead and legacy of famous Eastern
European composers of classical music, spiced up with the Balkan
traditional music, it’s a recipe that EYOT presents to you in it’s own
way. EYOT
John O'Gallagher is considered one of the most compelling alto saxophonists and composers at work today on the New York jazz scene. He is known for an innovative style which pushes the boundaries of jazz while rooted in it's tradition."Mr. O'Gallagher is an exploratory alto saxophonist with a clear melodic streak" - The New York TimesBorn in Anaheim Califorina in 1964 he began playing alto saxophone in grade school after his family moved to Spokane, Washington. Upon graduating high school he studied briefly at Eastern Washington University before moving to Boston to attend Berklee College of Music. There he studied with legendary saxophone gurus Joe Viola, Jerry Bergonzi and George Garzone. During the past 25 years living in New York he has become known for his projects as a leader, and as a sought after sidemen, working with artist such as Joe Henderson, Maria Schnieder, Kenny Wheeler, Billy Hart, Tony Malaby, Jeff Williams, Tom Rainey, Chris Cheek, Ralph Alessi, Rudresh Manhathappa, Mike Formanek, Ben Monder and numerous others.Jeff Williams was raised in Oberlin, Ohio where he began playing drums at age eight. Self-taught, with the aid of his parents' collection of jazz recordings as a guide, he started playing gigs with local professionals at age fourteen. Jeff's mother, Ann Williams, moved to New York to pursue a jazz singing career when he was nine, introducing him to a number of musicians who would be his early mentors, including drummers Jo Jones, Herb Lovelle, Elvin Jones, and Oliver Jackson. In 1967 Jeff made his recording debut with the psychedelic group Ant Trip Ceremony (Cicadelic).Sam began playing the double bass aged 16, taking classical lessons and teaching himself jazz. Whilst studying both disciplines at Trinity College of Music with Corin Long and Steve Watts respectively, he began to perform professionally on the British jazz scene. Since graduating seven years ago, Sam has appeared regularly at many established jazz venues in London and around the UK, as well as embarking on numerous international tours throughout Europe, America, Canada and Brazil.Sam is a member of Jeff Williams' UK-based quartet, award-winning saxophonist Julian Arguelles' quartet, vocalist Emilia Martensson's band, and Andrew McCormack's UK trio. As a sideman he has performed with Ethan Iverson, John O'Gallagher, Stan Sulzmann, Martin Speake, Nikki Iles, Bobby Wellins, and Jim Hart among many others. He is also proud to be involved in a number of exciting projects with his contemporaries, including the George Crowley Quintet and the Michael Chillingworth Sextet. SAM LASSERSON
Mike Collins on piano
His
development as a jazz musician began when he attended the legendary
Glamorgan Summer Schools learning from and playing with some of the best
players on the British scene (Stan Sulzman, Simon Purcell, Niki Iles,
Liam Noble, Julian Siegel to name but a few). As well as gigging
regularly on the lively Bristol scene, and throughout the South West and
Wales with his trio and quartet, Mike co-led a Quintet for a number of
years with Pete Judge (Get the Blessing). “..elegant..accomplished … perhaps a classic in the making.. Indicating a great live experience” London Jazz News“a voice all his own.. an
achievement in lyricism .. a stunning band …would grace any jazz lover’s
library” Charley Dunlap, Listomania.1/2 “.. mixes attractive melodies with a rhythmical flexibility… the easy confidence of a quartet enjoying itself”All About Jazz “Pastoral … gentle.. Collins sound.. closest to John Taylor’s or Bobo Stenson’s” Marlbank. MIKE COLLINS TRIO
"Homepath" é o primeiro álbum do Bardo e o Banjo, e reúne os singles que
foram lançados em seus 2 EP's anteriores ("Synergy" 2013, "Lakeside"
2014) em um trabalho que explora a fundo a sonoridade rústica que a
banda veio aprimorando ao longo de seus quase 3 anos de existência.
Nesse primeiro álbum, Wagner Creoruska Junior (músico, compositor) e o
produtor Cesar Benzoni exploram elementos diferentes, além dos já
convencionalmente usados pelo Bardo e o Banjo: sons de colheres, tin
whistle, gaita e até sapateado irlandês fazem participações nas faixas
do álbum. A junção de instrumentos novos com a música rústica do grupo
fazem de "Homepath" um álbum que mostra todas as facetas da música do
Bardo e o Banjo, levando o ouvinte a uma experiência completa no
universo da música tradicional/folk e do bluegrass. O BARDO E O BANJO
This album is dedicated to my Grandfather, William Henry Morgan. I keep
one of my most cherished possessions in a dusty old shoe box full of
memories. It's an old memorex cassette tape of my Grandpa picking and
singing alone in his basement room. He picks and sings some of his
favorites on the very guitar I would eventually learn to play on - The
guitar that has inspired everything I have done in the last 15 years of
my music career, including this collection of songs. I picked a couple
that he loved and some that have always kept me company in many dark,
lonely, motel rooms across this country. From the
painfully-hard-to-record "Grandpas Guitar," to a drunkin’ late night
version of "Dead Flowers" — these songs are as close to the real me as I
have been in a long time. Hell, I even threw in a song by the man
himself from that old cassette tape that started the whole thing. WHITEY MORGAN
Blues guitar phenom Eric Gales was born and raised in Memphis, learning
to play at age four from older brothers Eugene and Manuel in imitation
of their upside-down, left-handed style (a tradition actually passed
down from their grandfather, Dempsey Garrett Sr., who was known to jam
with the likes of Muddy Waters and Howlin' Wolf). Winning his first
blues contest at 11, four years later Eric signed to Elektra to issue
his 1991 debut LP, recorded with Eugene on bass; Picture of a Thousand
Faces followed in 1993. Manuel (who previously performed under the alias
Little Jimmy King) reunited with his siblings for 1995's Left Hand
Band, credited to the Gales Brothers.A newly matured Gales returned in spring 2001 to release his debut for
MCA, That's What I Am. Often billed as the second coming of Jimi
Hendrix, Gales, an adequate singer at best but a dynamite guitarist,
suffered for the comparison. With Gales always influenced by Hendrix and
the power trio format, his next albums, 2006's Crystal Vision and
2007's Psychedelic Underground, both released by Blues Bureau Records,
seemed like facsimile Hendrix albums, right down to the album art. His
next two releases from Blues Bureau, 2008's The Story of My Life and
2009's Layin' Down the Blues, found the Hendrix influence muted
somewhat, but Gales, a breathtaking guitarist at times, still seemed to
be looking for a way out of the Hendrix shadow and into his own voice.
Gales returned in 2010 with Relentless, a collection of 13 originals,
and followed it with the passionate Transformation a year later in 2011.
Theall-instrumental Ghost Notes arrived in the fall of 2013. ~ Jason
Ankeny & Steve Leggett, Rovi ERIC GALES BAND
