Ropeadope Vinyl, CD & Tape 39 Items

As challenging as these times are on planet earth, it is with great wonder and comfort that we are witnessing the emergence of great leaders with vision; individuals who are reinventing Jazz while also becoming role models for others as they express their worldview through their art. Composer, trumpeter, and flugelhorn player Yazz Ahmed has performed with Radiohead and The New Puritans. Her second album, La Saboteuse, featured Shabaka Hutchings and Naadia Sheriff and was hailed by critics and fans alike.
Yazz was born in London to a British ballerina mother and Bahraini engineer father, with the family moving to Bahrain soon afterwards. When she was nine, Ahmed and her sisters returned to London with their mother. Her maternal grandfather, Terry Brown, was a jazz trumpeter and record producer in the 50s, and when Ahmed was given the choice of taking up an instrument at her new school, she chose the trumpet.
Her third album, Polyhymnia, will be released in October 2019, and while Yazz continues to blend Jazz with traditional Arabic rhythms and melodies, she brings her message with the music. Polyhymnia is a celebration of female courage and determination. It is a suite of six compositions, each dedicated to women of outstanding qualities, whom Yazz finds to be inspirational role models. We welcome this powerful and important statement as we work towards a world of equality.

Izumikawa’s latest album, Life Is Your Thoughts, is a cross-cultural examination, born out of his experiences living and working in both Japan and the United States. Musically, the tracks on the album balance traditional Japanese melodies and Hip-Hop, R&B, and Jazz.The title track Back to the Moon – Life is Your Thoughts is particularly poignant. It’s based on the 10th century Japanese fictional prose narrative Princess Kaguya, which ends with the princess tearfully leaving earth to return to her home on the moon. The song plays out a conversation between the English rap and the Japanese lyrics, taken directly from poems in the original text.

As Ghost-Note hit the road in 2017, they could not avoid the barrage of news hitting every day, so the band made a conscious choice to find comedy and positivity in these troubling times. They began recording their moments of discussion and humor as voice memos, which would later find their way into the new album. Studio dates were set, and the surprise announcement that Nick Werth would be leaving the band for his solo work left things wide open. Without Nick, Ghost-Note started anew with no notions; they just went in to the studio and risked it all.

And so, Swagism was recorded in the same way the band developed: start with the base and leave the destination wide open. With a growing cast of players bringing fresh new arrangements of sound, Nate and Sput brought in some friends, further altering the end game. Kamasi Washington, Karl Denson, Raja Kassis, Prudence the Auset Sneed, Brandon ‘Taz’ Neiderauer, Nigel Hall, Bob Lanzetti, Alvin Ford Jr, Jay Jennings, Nick Werth, Bobby Ray Sparks, Phil Lassiter, Michael Palmer and many more added their incredible flourish to the album, rounding out a document that captures the entire Ghost-Note experience, tying everything together in the same way it evolved – as a family, as a multi-cultural band of humans that fully embraces the time they spend together and their common goal, complete with reflection on the times we live in. This is Ghost-Note.

“The record started out (as) instrumental, genre bending music… and I thought we are on a really good track… It’s an incredible journey for making a record, to start somewhere and end in a place of protest, of speaking your mind and hoping that peace and love resonate with the listeners.” — Nate Wert

“This is my voice, it means more than all of the other things. Of course I’m sharing a platform with others in Ghost-Note, but this is me.” — Robert 'Sput’ Searight

DJ Harrison's first full collection of tapes from 2014 - the first release on RVA's Jellowstone Records via Ropeadope, available on vinyl for the very first time. Nods to his heroes abound, but the sound is distinctly Devonne Harris.

Chris Poland is an American jazz fusion guitarist and creator/co-founder of the the Heavy Jazz/Rock/Fusion power trio OHM. Poland started playing from high school in New York, and later replaced Richard “Max” Maxfield in the rock/jazz group Welkin. In 1977, he moved to Los Angeles and formed the The New Yorkers with Robertino 'Pag' Pagliari, Gar Samuelson and Stu Samuelson. Poland and Gar Samuelson were then recruited by Megadeth and were crucial members of their early line-up. Poland worked on their first two albums “Killing is my Business...and Business is Good!” and “Peace Sells...But Who's Buying?” Poland quit Megadeth shortly after the second album. After Megadeth, Poland went on to perform as a bass player for the Circle Jerks on a whim and released two solo albums, “Return to Metalopolis” and “Chasing the Sun,” along with “Rare Tax,” a companion album. Once again, Chris would be asked to be the founding lead guitarist for another band - ‘Damn the Machine’. The band would release an album and go on a world tour. In 1997, Poland and Pagliari came together once again to form OHM with Koko Bermejo on the drums. They have since worked with drumming legends like Kofi Baker, David Eagle, and Nick Menza, and are going strong. In 2009, Poland and Pagliari created an offshoot of OHM known as OHMphrey along with Jake Cinniger, Joel Cummins, and Kris Meyers. Chris has appeared on Ropeadope recordings with Saxophonist Frank Catalano, and now he is set to release Resistance; a deep journey into the idiom of Jazz from a composer and player with an edge. Poland’s compositions are like narrations of all the complexities of life, both beauty and challenge are equally embraced in the process.

“I find in writing songs that I’m often walking that thin line – I’m trying to make a personal, individual experience universal,” muses singer-songwriter Lisa Marie Simmons. From homebase on the coast of Italy’s beautiful Lake Garda, Simmons collaboratively leads two different ensembles – Hippie Tendencies and NoteSpeak – with keyboardist, arranger, and songwriter Marco Cremaschini, each deeply but differently informed by Simmons’ own struggles and triumphs. Born in Colorado Springs (CO), Simmons survived several troubled adoptions and foster homes. She found solace in singing and was featured soloist with the Boulder Youth Choir. At nineteen, Simmons moved to New York City to study theater and music at The American Academy of Dramatic Arts while performing on the Manhattan club circuit at night. “Music is my savior,” she has said. In the 1990s, Simmons explored and performed music in Amsterdam, Costa Rica, St. Marten, and France, where she began to compose her own music and lyrics. She continued her travels through Central and South America, then stepped out in 1999 as a solo artist with her first single (“Feel It”) while continuing to collaborate with various Italian artists and producers. Simmons and Cremaschini have since divided most of their attention between the neo-folk-soul project Hippie Tendencies and spoken-word-jazz project NoteSpeak. Hippie Tendencies’ cover of “Here’s To You/The Ballad of Sacco and Vanzetti,” which recants the execution of two Italian immigrants wrongly convicted for murder during a 1920 armed robbery in Massachusetts, was adopted by Amnesty International the theme for their #herestoyou campaign. NoteSpeak explores creative paths established by such artists as The Last Poets, Gil Scott-Heron, and Brian Jackson, constantly shifting from style to style yet keeping a consistent, deep groove. Simmons' delivery connects Nina Simone to Jill Scott, obliterating the line between vocalist and poetess. “I love the exploration of the spoken, sung and played mingled,” Simmons explains. “In NoteSpeak, we’re giving ourselv

Jason Miles's newest release for his Kind of New Band “Black Magic”, his first on the Ropeadope label, he is exploring the possibilities of the small electric ensemble based on the same band of superb musicians he recently toured Europe with Reggie Washington on Bass,Gene Lake ,Drums , Jay Rodriguez ,Sax and Bass Clarinet and Philip Dizack on Trumpet. It is a combination of live tracks recorded at NewBlu in NYC and 4 new studio tracks that were influenced by a recent concert and encounter with Herbie Hancock. Jason recently said “seeing Herbie perform just made me realize how deep you have to go to get the most from your creative soul. I re-evaluated the new music I had and realized I hadn’t explored my musical soul deep enough. I locked myself in my studio and came up with 4 new tracks that I couldn’t be happier with and decided to call it Black Magic..There was some other vibes going on for sure”

Born in Chiba, Japan, Yasushi Karasawa learned piano from his mother as a young child, and soon began the explorative process in music. His first influences were Yellow Magic Orchestra and the great Ryuichi Skamoto, leading him to save the pocket money for a Yamaha CS-15 analog Synth and a double cassette deck for recording. As is the case, musical exploration leads one around the world to Jazz from the US, and in his case it was a borrowed record from Bill Evans that sparked his in Jai piano. Studying at High School and then University, enamored with Evans and naturally Herbie Hancock, the stage was set. He performed at the Tokyo Jazz Clubs and he played in a pop band, but soon he turned to the studio and his own music with the project dubbed N’Sawa Saraca.

Haitian-born singer and multi-instrumentalist Paul Beaubrun is back again with his fourth recording project, Rasanbleman (Red Moon). This live studio recording includes exciting renditions of Beaubrun’s compositions performed previously with his roots-reggae band, Zing Experience. Although the album presents an array Beaubrun’s prolific work, Rasanbleman is more than just a mere collection of songs. It is a representation of unity, familial, and communal ties among Haitian artists. The original idea for this album came about while on tour with Zing Experience. Beaubrun says, “We had been performing these songs live and decided we needed to record them. Many people knew our songs, so we wanted to make them accessible to people for their enjoyment.” After much thought and planning with manager Emma Griffith, he decided to record the album at the Audio Institute recording studio in Jacmel, Haiti. According to Beaubrun, “the intention to record in Jacmel was to bring a different light in the country...it was a way to highlight the different music scenes all around Haiti. That is why it was important for me to showcase the many talented artists, producers, and sound engineers in Jacmel.” In order to accomplish this personal mission, Beaubrun brought together a group of prominent Haitian artists which included Jean Caze, and many other collaborators from the Bayo Tour (please fill in their names, I wasn’t able to find them). The title Rasanbleman has a very interesting story behind it. The Haitian term ‘rasanbleman’ means a large ‘gathering’ or the coming together of a large group of people. For Beaubrun and his contemporaries, the word captures the events of the night before the recording session as Beaubrun and fellow Haitian artists, producers, and engineers, congregated for a beautiful beach dinner. Their evening activities were soon interrupted when a rainstorm forced them to seek shelter under a tent. While huddled together in close quarters they engaged in deep conversations about the hopes and aspirations of Haitian artists, and how they could contri

Born and raised on the westside of Los Angeles, Eric Borders is a keyboardist, producer and composer. He has shared stages with the likes of Kamasi Washington, Jose James, Jimmy Cliff, The Internet, Stanley Clarke and George Duke. His Musical ‘persona’ is Captain Supernova (C.SN), a fictional Astronaut who travels through space and transmitting his message back to Earth. And so the stage is set, and we are about to receive C.SN’s third transmission; this time a full length album - The Voyage Never Ends.

The mighty Charles Owens is back, this time with a double album highlighting two formats. Three And Thirteen finds Owens back at Jellowstone Studio in Richmond with Devonne Harris on drums, and Andrew Randazzo playing electric bass. The trust, telepathy, and pocket has only grown and evolved with time, and the trio runs through fresh and daring arrangements of familiar songs as far back as 1929 (The beautiful, haunting and plaintive Hoagy Carmichael chestnut “Stardust”), to as recent as 2008 (Radiohead’s “15 Step”). The second part of the LP (Thirteen) finds the R4ND4ZZO BIG B4ND presenting lovingly crafted arrangements of Owens’ compositions by master arranger and bassist Andrew Randazzo. Three and Thirteen captures the devotion and ambition of Owens with a cast of world class musicians breaking new ground.

Back in the early 2000s, Ninja Tune’s heyday, the unlikely duo of label mates BluRum13 (One Self) and Luke Vibert (Wagon Christ, Plug, Kerrier District, ...) quietly formed across genres and geography. Their first album, “Smell the Urgency,” was a playfully intellectual romp through the minds of two geniuses of rap and production respectfully. The album was shelved for reasons unknown, only to be resurrected by fans 13 years later and released on limited edition vinyl by Lille’s Besides Records. The re-release prompted a reunion, and just one year later, BLUKE returns with a second album even more revelatory than the first.

True to both artists’ extensive experience and discography, “Sense” showcases the depth of talent unique to each. The album is replete with expert sample-stitching, like the vintage video game sounds on Omnipotent or the whistling banjo duet on Happy Daze. From the chunky 70s bass lines of Gimme a Sign, to the rapid-fire scratches and litanies of Something Fresh (ft. DJ SPS), to the lazy quirk of Turninitup, BluRum and Vibert trap and entrance our senses, raising and respecting our consciousness along the way. Tempos rise and fall with precision, Blu flexes hard on shiners like Grind, with Vibert’s expert production laying a soaring foundation for Blu’s lightning-yet-laidback rhymes that you have to listen to again and again to fully extract their multilayered meaning. Most wonderfully, Vibert sets his whimsical side free again for “Sense”, giving BluRum the room to write Couldabin, a love song for lovers of artists, and even leave us with the sweet summer banger Slide By. As per the imperative of Machine Gums, with “Sense the Urgency” BLUKE leaves a legacy unmatched in hip hop to-date. So open your third eye, and raise your spirit in celebration of the 360 resurrection of real beats and rhymes.

The Last Poets are widely credited as the godfathers of Hip-Hop. Transcending Toxic Times is the album that fully defines their careers and legacy. Artfully recorded and produced by Jamaaladeen Tacuma (Ornette Coleman), the album intertwines the groove of Black culture with The Last Poets powerful words and cadence. Special Guests Malik B, Ursula Rucker, Tim Motzer, and Wadud Ahmad. This record will finally define the correct blend of poetry, jazz, Hip-Hop, and Soul, with the full expectation that it will be emulated for years to come.
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Featuring former members of Prince & The New
Power Generation, Philip Lassiter, Elliott Yamin
(American Idol), members of Snarky Puppy, Bobby
Sparks, Mark Lettieri & Jason Thomas, as well as the
incredible Mono Neon.
This 14-piece Los Angeles based band has been
playing epic shows all over the West Coast with the
likes of Jammcard, The Nth Power and more. This
party is just getting started

Anu Sun aka Anu The Giant works closely with Robert Glasper: first on the acclaimed Black Radio Project, and further on the Miles Ahead soundtrack and the recent Johnny Cash release Forver Words, where he and Robert wrote the music to a Cash poem Going Going Gone. After three years of work he is ready to release Sanguine Regum, self described as a genre merging album that is 'progressive adult contemporary - the maturation of Hip-Hop and jazz ‘ The album has a distinct solo-political slant with a positive outcome, celebrating the accomplishments of Black artists in today’s world. The title means ‘Blood Of Kings’, and the album features guests Robert Glasper, Casey Benjamin, Alex Han, Maurice Brown, Tone Whitfield, and many more.

Eddie Palmieri, at 83 years of age, is performing and producing his best work. Mi Luz Mayor is his second salsa release of 2018, and is a tribute to his late wife, Iraida. (The selections are all songs that she enjoyed). In addition to the usual all star cast of players, Mi Luz Mayor features the great Gilberto Santa Rosa, Herman Olivera, and none other than Carlos Santana. The CD include a 12 page booklet with liner notes and credits in English and Spanish. This work is dedicated to Iraida, my late wife, the love of my life.
Here I present to you the music that Iraida and I enjoyed in our youth. I would play this music in our home often, during the Holidays and on special occasions. We would dance to this music, but there were also times where the music spoke for us. Music was the constant force that touched our hearts and would heal any wounds that life sent our way.
Ultimately, these songs represent our love story. Selecting each composition and writing new music helped me work through my grief after she passed away in 2014. Because this music is in her honor, everything from start to finish had to be of the highest caliber and I am proud to say that it is just that.

If Iraida were here today, I know she would want you to know that life wasn’t always easy. She worked tirelessly and selflessly for the needs of our family - there truly wasn’t anything she didn’t do or wouldn’t have done for us. The career trajectory of a musician is difficult at best and like anyone in this business, there were many ups and downs. And when I was down, she always had an unrelenting drive to see me through my darkest days. I, in turn, did the best I could to be there during hers. She was my anchor, my one foot in reality. She kept me grounded and helped keep me on the right path in hopes that I would reach my highest potential. She was my life. And I was hers. Reliving this music allows me to sit again in her presence, to visit memories of our time together. I share this with you now and hope you will feel a connection to her, to another era and to me.

I would also like to acknowledge of the profound respect, admiration and impact both Rene Hernández and Ray Santos have had on my musical life. Their arranging skills show careful study and the diligence I endeavor to carry over into my own arrangements. It is the platform from which I rarely move, where the historical integrity of the Cuban structures are preserved and expounded upon – that is the excitement that drives my creative process. I am also grateful for the contributions and arranging talent of Jose Madera – I truly believe he is an inspiration to the next generation of arrangers.

As for the musicians…I am surrounded by Chiefs, each a master of their own instrument. I am incredibly grateful to all the musicians that are on this recording and of course, the special guests, Mr. Carlos Santana, Mr. Gilberto Santa Rosa and “La Voz del Caribe,” Herman Olivera. And a heartfelt thank you to Brian Lynch for the coda input on the new arrangement of Mi Congo. These gentlemen know they all live in my heart and pay no rent.
My motto for this CD is “Cuidado!”

Eddie Palmieri
Written in collaboration with Ileana Palmieri-Campos

Aaron Parks' "Little Big", the new Ropeadope album from the acclaimed pianist, keyboardist and composer, is at once the culmination of his brilliant early career and the long-awaited follow-up to his Blue Note Records debut, Invisible Cinema. That 2008 release, with its gorgeously melodic writing and improvising and deft use of indie-rock, electronica and hip-hop elements, established Parks as one of the most gifted and original young voices in jazz. “This is the natural successor to that record,” says the New York-based artist, 34. “It’s taking the ideas of that project and doubling down on them—fully committing to that direction.”

A simple search on the internet for Russell Gunn will yield little result, an unusual occurrence in these days of ubiquitous information. And this is a clue into the man; soft spoken, laid back, happy to reside just outside the spotlight as he immerses himself in a wide variety of musical projects.

Russell Gunn was raised in East St. Louis, Illinois. The relative distance of the city from other scenes meant that Russell was exposed to new music only when a scene gained national exposure. This broad input informed his playing and composing, and led to his understanding of the full context of a genre. He holds the tradition and an understanding of history in high regard, and counts himself as fortunate to grow up in a time when he could learn from the greats.

‘If you don’t wanna learn Charlie Parker’s language, that’s your business. But you’re missing a foundation piece – it’s like building a house starting on the second floor. It’s all about language, and if don’t have a grasp of the language you are limiting yourself’

Russell Gunn’s schedule speaks of the breadth of his interest – recently he completed a residency at Columbia College in Chicago, spending time teaching, performing, and consulting with students. Then it was off to Belgium to produce an album, then out on the road with Marcus Miller. His credits speak of the same breadth, recording or touring with the likes of Maxwell, Lou Reed, Cee Lo and many more.

Russell Gunn’s new project is The Royal Krunk Jazz Orkestra. A big band based in his current home of Atlanta Georgia, RKJO is a natural mashup of the traditional Jazz Big Band, with Rhythm & Blues and Southern Hip-Hop sensibility. The band played live weekly for over a year, with Gunn providing the vision and inspiration for the band to embrace and follow willingly. Once the natural language was fully mature, they headed into the studio to record Get It How You Live, their debut album set for release in summer 2018.

‘Get It How You Live is about explaining yourself in an honest way – when you open your mouth it has to be genuine’

The album is big, with all the swagger and power that you’d expect. It leads off with a speaker introducing the band and setting the stage, and once you’re in your chair you have to jump up as the horn section sets the groove with Theo Croker in the front. But that’s just the start – concise and delicate moments are interspersed with guest vocalists Dionne Farris and Dashill Smith. Get It How You Live is easy to listen to, and each time it reveals yet another level of craft – truly a reflection of Russell Gunn’s intent.

‘’ORIGINS” is a fusion album from the roots and elements of flamenco (bulerías, soleáres), afro-cuban (guaguancó and rumba) and american jazz form. The work is also an exploration of the musical origins of this international pianist who has traveled the world and explored the roots of afro-cuban music and jazz from a flamenco perspective.

African music and its tradition on percussion are the key of most of the world folkloric rhythms and syncopated accents. During colonial times, Africans were exported as slaves to many geographies, and in the process, their cultural and religious believes as well as their rhythmic patterns landed in the Caribbean, North America and Spain. Consequently, it’s not a coincidence that the magic resemblance of the ‘’3+2’’ rhythmical patterns from Africa is implicit in the most traditional expressions of flamenco, rumba and jazz.

The mystery of the clave can be found in Spanish flamenco palos like seguiriya, bulería or soleá. These rhythms are unique and specific expressions from a region where a unique melting pot of sounds and cultures (Jewish, Moorish, and Gypsy) co-existed for centuries. The rhythmic elements of North Africa collided with Eastern melodies and European harmonies, creating unique combinations of ‘’3 plus 2’’ on the rhythmical cells, clapping and footwork spread on the twelve-beats patterns.

Alex Conde blends all these ingredients in compositions like “Bulerijazz”, a piece that combines the sounds, rhythms and flavors of a bulería de Jerez with a touch of the Jazz Messengers three-horns sounds in Caravan, bridging Jerez and New York City in one go. He also shows his colors on “Upper West Side”, a Tango flamenco (not to be confused with the Argentinian tango) that is not too fast, not too slow, and that merges the flavor of Latin-jazz trumpet solo improvisation with a traditional compás reminiscent of Granada.

In an era where people eschew tangibility for technology, Butcher Brown is a ray of hope for the future. They are soldiers of peace, armed with respect for the lineage of Black music, who aren't afraid to push forward. Rooted in the soil of the earth, their music reflects an aesthetic that exists beyond chronology. As anomalous as brown leaves of fall on a spring tree, they cause you to question exactly how a group of relatively “young” men possess such “old” souls.

They are agents of a continuum. A spectrum of color that defies categorical constructs, like that of dusk settling across the evening sky. They are a subtle, yet beautiful, reminder that after the darkness of nightfall, we are soon to expect the promise of the sun.

The Gritz Band is more of an eclectic super-group than your average hip-hop band. Known by some as Erykah Badu’s band. Founded by band leader RC WIlliams in 2004, the group is made up of a diverse mix of musicians from across Texas and whose repertoire includes, R&B, HipHop, and Soul Music.

Philty is a 14-piece Los Angeles based band has been playing epic shows all over the West Coast with the likes of Jammcard, The Nth Power and more. This party is just getting started!

Paul Beaubrun grew up immersed in music; his family formed Boukman Eksperyans, a mizik rasin band from Port-au-Prince. The band name is derived from Dutty Boukman, who is credited as the starting point for the Haitian Revolution in 1791, and from the English word ‘Experience’, which is a direct reference to Jimi Hendrix. The family was forever tied to the political upheaval in Haiti, and though they were forced in exile and subsequently returned to Haiti, they ultimately evolved to find a nonpartisan stance that reflected the people, rather than a political ideology or leader.

As a teen, Paul was playing ball in Port-au-Prince and heard his mother on the radio, calling out to warn him of danger at their door. With the help of a friend he fled and made his way to New York. Here he honed his craft, but most importantly he carried his Haitian perspective forward – eager to learn, fascinated by the city swirling around him, Paul stepped forward with positive energy and embraced all things.

The movement of Africans to the western hemisphere was forced, and the music was often removed from the people. But the spirit was never lost, and soon the music was advancing the path – from Haiti to New Orleans, from New Orleans to Chicago and New York, from the US to London - African influences spread and mixed with local culture to create new forms and genres. Over time the power of this force revealed itself in new ways as these genres circled back to the islands and again formed new styles: Reggae and Mizik Rasin. Like Reggae, mizik rasin is old culture blended with new, imported sound. As the blues hit Haiti in the form of Rock music, Boukman Eksperyans advanced this new, blended sound. And now, Paul Beaubrun brings his perspective and carries the music back out to the world with ease – collaborating at every turn to learn new things, but also to connect through love and music. His positive view of humanity as a shining light is infectious, we all know it to be true despite the pain of history. We all need to believe, and Paul is a great ambassador of our hopes and dreams.

Paul Beaubrun knows these things - he seeks to conquer the world with gentleness, with music. There is little need to dissect the message or the music - it is simple and it is indisputable. This is a human carrying the message of peace and beauty. The best way to describe this wondrous process is with the word Blessings – which is naturally the title of Paul’s album - Ayibobo

DJ Harrison's first full collection of tapes from 2014 - the first release on RVA's Jellowstone Records via Ropeadope, available on vinyl for the very first time. Nods to his heroes abound, but the sound is distinctly Devonne Harris.

Since moving from Chesapeake, Virginia to New York City in 2001, Nate Smith has helped reinvigorate the international jazz scene with his visceral style of drumming by playing with such esteemed leading lights as bassist Dave Holland, saxophonists Chris Potter and Ravi Coltrane, and singers Patricia Barber, Somi, and José James. The New York Times described Smith as “a firecracker of a drummer.”

Smith’s rising career reaches a new benchmark with the release of his bandleader debut, KINFOLK: Postcards from Everywhere, on which he fuses his original modern jazz compositions with R&B, pop, and hip-hop. The disc shows Smith leading a scintillating core ensemble, consisting of pianist and keyboardist Kris Bowers, guitarist Jeremy Most, alto and soprano saxophonist Jaleel Shaw, electric bassist Fima Ephron, and singer and lyricist Amma Whatt, and Michael Mayo on backing vocals. The lineup expands on several cuts with the inclusion of Potter and Holland along with other illustrious guests – guitarists Lionel Loueke and Adam Rogers, and singer Gretchen Parlato.

As the title KINFOLK suggests, the music bristles with a magnetism that can be only achieved by assembling the right musicians, building upon and blending their individual voices and developing a bracing group rapport. Indeed, Smith refers to the aforementioned musicians as “kindred spirits,” while embracing some philosophies gleaned from his mentor, Holland. “Dave once told me, ‘I really believe that musicians find each other,’” Smith recalls. “He feels that all the collaborations he’s done and all the sidemen that he’s hired came into his life on purpose, even though he might not have been looking for something specific. He discovers people along the way.

For the first time on vinyl, the historic 1969 Preservation Hall recording of Sister Gertrude Morgan “Let's Make a Record” paired with its 2004 re-imagining “King Britt Presents Sister Gertrude Morgan”

Triple gatefold, double LP features both original album covers and art from Sister Gertrude Morgan.

10 time Grammy winner, legendary Latin Jazz musician, special guests Donald Harrison Jr, Joe Locke, Bernard Purdie, and more.

Eddie Palmieri’s influence on the world of modern music is often celebrated, but just as often underestimated. As he completes his 80th year with us, his energy and commitment seem to be increasing, as if to fully emphasize the power of not just the music but also the cross-cultural importance of the process. With no sign of slowing, Mr. Palmieri is the elder of a global culture of musicians, actively teaching young students and leading the way for the next generation. And now Mr. Palmieri brings to the world his first project since his back to back Grammy wins in 2005/2006 - SABIDURÍA. Sabiduría is the Spanish word for WISDOM, and the message is clear from the outset that wisdom is the exalted value that should guide us all. His intent with Sabidurí a, as it has been with all of his recordings, is to create art that will be analyzed and understood well beyond his time.

HUW is multi-instrumentalist and producer Aaron Dolton. His brother, Mike, is the principal collaborator on the project. Both brothers compose and perform, with Mike holding down the rhythm while Aaron provides the production skills that realize their sound. Their music is a downtempo blend of electronica, jazz and soul.