'The Gift' by Andrea Gomellini

Having gushed about A.MA Records' 'Plastic Estrogenus' by Gianluca Vigliar's Quintet, the Italian jazz label now follow that fantastic record up with 'The Gift' by guitarist Andrea Gomellini.

A.MA Records have really developed a thrilling catalogue of music celebrating contemporary Italian jazz artists including Vigliar, Antonio Trinchera, Alberto Parmegiani and now with Andrea Gomellini inducted into the fold, the label is pushing forward with another exciting year of releases.

Gomellini's talents have seen him evolve his passions from classical guitar to blues and ultimately finding its home within jazz.  Having studied and subsequently performed extensively overseas, Gomellini has amassed an incredible body of work including the formation of the Andrea Gomellini Quartet and their releases 'Four in Monk' (Philology, 2008) and 'Metamorfosi' (Zone di Musica, 2013), his contribution as guitarist for the Castelli Jazz Collective most notably with their album 'Plays Zawinul' (Pulsar Jazz, 2016) and not forgetting his appearance on Leo Young's fourteen minute genre-blending 'The Frascati Project' from 'The Unreleased Projects of Pronto Recordings' (2019).

With Gomellini on guitar, the Quintet assembled for 'The Gift' is rounded out by a range of stunning performers including pianist Danilo Blaiotta (Logan Richardson, Mike Applebaum), saxophonist Simone Alessandrini (Role Play Trio, IndiJazzsto), drummer Valerio Vantaggio (Jacopo Ferrazza Trio, Andrea Biondi) and double-bassist Jacopo Ferrazza (Jacopo Ferrazza Trio, Castelli Jazz Collective).

The album's title of 'The Gift' really opens up a running theme explored throughout the project's eight compositions with song titles including 'Hidden Treasure', 'The Gift' and 'Lost Treasure' but it's perhaps the closing number which provides the clearest context for the whole album, 'Il Dono di Euterpe' (translating to 'the gift of Euterpe').  Enshrined within Greek mythology, Euterpe is renowned as a muse for music and lyric poetry - musicians would invoke the name of Euterpe to inspire, guide and assist them in their compositions.

And it would appear that Euterpe's blessings have certainly presided over Gomellini's Quintet when you hear the very treasures presented over the course of these eight recordings.  The aforementioned 'Hidden Treasure' kicks the album off beautifully before moving to the project's title track, 'The Gift', and songs like 'J&G' and 'Labyrinth' which carry the sublime nature of the Quintet's music and interplay further.

Andrea Gomellini and the supporting players masterfully present music that is affectionate but also joyous - the entire album comes off as a celebration of music, the very art-form that unifies not only Gomellini and his players but unifies the listeners as well.  This album is Andrea Gomellini's gift to all of us.

D'Angelo: Every Song Ranked.

Well, here we are again...!

Four years ago, in a project that took a fair few months I sat down as a die-hard fan of Prince and ranked my top 100 Prince songs (which you can catch up with here) placing them in order and even making a mix too.  The list was fun, exhausting and definitely divisive but is still something I'm incredibly proud of.

So now 4 years later, I thought let's do it again... and rank every D'Angelo song that he's ever sang on.

As with the Prince list, there are a couple of rules to adhere to before we get started:

- Firstly, no bootlegs.  It just seemed fair that every song should be completely accessible by all.
- No remixes.  The list would be endless if we started to include remixes as new ones seem to emerge every week so we're sticking with original versions of tracks only, or in the case of GZA's 'Cold World', track that D'Angelo recorded vocals specifically for.
- For the purposes of this list, we're sticking to vocal performances only and not including tracks that D'Angelo may have written or produced or remixed or played instruments on for other artists.
- And finally, no live stuff.  Again, the list would be endless if we included all the live recordings floating around so official studio releases only in this case.

Hold my hand friends and let's take the deep dive together...

Blue-in-Green Sessions · D'Angelo: Every Song Ranked | blueingreenradio.com

62. 'I Found My Smile Again', D'Angelo
Space Jam OST, 1996; Atlantic Records
"I haven't felt like this in a while"

61. 'Glass Mountain Trust', Mark Ronson featuring D'Angelo
Record Collection, 2010; RCA Records
"I'm free now, I'm gonna take all of my love back on the way out"

60. 'Girl, You Need A Change of Mind', D'Angelo
Get On The Bus OST, 1996; Interscope Records
"Why march in picket lines?"

59. 'Cold World' [RZA Remix], GZA featuring D'Angelo & Inspektah Deck
Cold World single, 1995; Geffen Records
"Babies crying, brothers dying"

58. 'Ain't Nobody Home', BB King featuring D'Angelo
Deuces Wild, 1997; MCA Records
"How many times I begged you to come home?"

57. 'Sing A Simple Song', Chuck D, Isaac Hayes and D'Angelo
Different Strokes By Different Folks, 2005; Epic Records
"Time is passin, I grow older, things are happening fast"

56. 'So Far To Go', J Dilla featuring Common and D'Angelo
The Shining, 2006; BBE Records
"You have come so far"

55. 'Intro'/'Water No Get Enemy', D'Angelo, Femi Kuti + Macy Gray featuring Roy Hargrove, Nile Rodgers, The Soultronics + Positive Force
Red Hot + Riot, 2002; MCA Records
"If your child dey grow, a water he go use"

54. 'Heaven Must Be Like This', D'Angelo
Down In The Delta OST, 1998; Virgin Records
"I think heaven is you"

53. 'Playa Playa', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"Rob you of your glow"

52. 'Imagine', Snoop Dogg featuring Dr Dre and D'Angelo
The Blue Carpet Treatment, 2006; Geffen Records
"I've been dreaming all my life"

51. 'The Door', D'Angelo
Black Messiah, 2014; RCA Records
"I wrote a perfect song"

50. 'Devil's Pie', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"F--k the slice, want the pie"

49. 'Higher', D'Angelo
Brown Sugar, 1995; EMI Records
"Feels like heaven when I think about you"

48. 'Precious Love', Erykah Badu and D'Angelo
Marvin Is 60, 1999; Motown Records
"Cos you've shown me what happiness is"

47. 'Nothing Even Matters', Lauryn Hill featuring D'Angelo
The Miseducation of Lauryn Hill, 1998; Ruffhouse/Columbia
"Your love makes me feel ten feet tall"

46. 'Prayer', D'Angelo
Black Messiah, 2014; RCA Records
"I know that you will make it to the promised land"

45. '1000 Deaths', D'Angelo
Black Messiah, 2014; RCA Records
"The moment of truth is near"

44. 'Talk Shit To Ya', Marlon C featuring D'Angelo
Baby Boy OST, 2001; Universal Records
"Since we already had sex, might as well finish the rest"

43. 'Back to the Future (Part 2)', D'Angelo
Black Messiah, 2014; RCA Records
"The seasons may come and your luck may just run out"

42. 'Jonz in My Bonz', D'Angelo
Brown Sugar, 1995; EMI Records
"Fooled, misled by every single possibility"

41. 'Sugah Daddy', D'Angelo
Black Messiah, 2014; RCA Records
"I fill my baby's crib with all the sweetness daddy wants to give"

40. 'Everybody Loves the Sunshine', D'Angelo
Untitled (How Does It Feel?) single, 1999; EMI Records
"Bees and things and flowers"

39. 'Pray', Vertical Hold featuring D'Angelo
Head First, 1995; A&M Records
"Don't you be too blind to see"

38. 'U Will Know', BMU
Jason's Lyric OST, 1994; Mercury
"And the things you want you can't have"

37. 'Greatdayndamornin/booty', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"I search for answers often, I paid the price for many"

36. 'Chicken Grease', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"So unique, come on everybody let's dance to the beat"

35. 'Ain't That Easy', D'Angelo
Black Messiah, 2014; RCA Records
"I been waiting so long"

34. 'Bullshit', The RH Factor featuring D'Angelo
Distractions, 2006; Verve Records
"I won't worry, don't you worry, 'bout a thing"

33. 'Believe', Q-Tip featuring D'Angelo
The Renaissance, 2008; Universal Motown
"I believe... that's love"

32. 'Feel Like Makin Love', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"Strollin' in the park, Watchin' winter turn to spring"

31. 'Tell Me', Slum Village featuring D'Angelo
Fantastic, Vol.2, 2000; Good Vibe Recordings
"Tell me if you want some and you can just, come on"

30. 'She's Always in My Hair', D'Angelo
Scream 2 OST, 1997; Capitol Records
"Maybe I’ll marry her, Maybe I won’t"

29. 'May I, Stand Unshaken', D'Angelo
Red Dead Redemption II OST, 2018; Lakeshore Records
"I once was standing tall, Now I feel my back's against the wall"

28. 'Alright', D'Angelo
Brown Sugar, 1995; EMI Records
"And if we don't see eye to eye, At least we tried"

27. 'I'll Stay', The RH Factor featuring D'Angelo
Hard Groove, 2003; Verve Records
"I'll Stay, For She'll Be Coming Back"

26. 'Africa', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"I dwell within a land that's meant, Meant for many men that's not my tone"

25. 'Back to the Future (Part 1)', D'Angelo
Black Messiah, 2014; RCA Records
"Traveling at the speed of light and then, At the same time I'm in the same spot too"

24. 'Til it's Done (Tutu)', D'Angelo
Black Messiah, 2014; RCA Records
"In a world where we all circle the fiery sun, With a need for love, What have we become?"

23. 'Left & Right', D'Angelo featuring Redman and Method Man
Voodoo, 2000; Cheeba Sound/Virgin
"Smack your ass, pull your hair"

22. 'Be Here', Raphael Saadiq featuring D'Angelo
Instant Vintage, 2002; Universal Records
"Oh, lady you should see the tricks that I got"

21. 'The Line', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"I'll go through the fire with you, Kill and die with you"

20. 'The Root', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"Said, I left my mojo left my mojo, In my favorite suit"

19. 'Another Life', D'Angelo
Black Messiah, 2014; RCA Records
"The candy-coated thoughts that drift through my sleep"

18. 'The Notic', The Roots featuring D'Angelo
Men In Black OST, 1997; Columbia Records
"You're a shining star, No matter where you are"

17. 'When We Get By', D'Angelo
Brown Sugar, 1995; EMI Records
"T'is a beautiful day, and you're welcome to stay"

16. 'Betray My Heart', D'Angelo
Black Messiah, 2014; RCA Records
"Through the storm, through the rain, I'll come running to ease your pain"

15. 'One Mo'gin', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"And I wondered all this time 'bout how you been, And I hoped by chance, I'd see you once again"

14. 'Really Love', D'Angelo
Black Messiah, 2014; RCA Records
"I fall in love so quickly"

13. 'Geto Heaven (Part 2)', Common featuring D'Angelo
Like Water For Chocolate, 2000; MCA Records
"Know I love my baby; my baby loves me"

12. 'Cruisin', D'Angelo
Brown Sugar, 1995; EMI Records
"Music was made for love"

11. 'Break Ups 2 Make Ups', Method Man featuring D'Angelo
Tical 2000: Judgement Day, 1998; Def Jam Recordings
"I'm still lovin' you, babe"

10. 'Untitled (How Does it Feel)', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"You've already got me right where you want me baby"
Envisioned as something of a tribute to Prince, the track (produced and written with Raphael Saadiq) went on to win a Grammy and become a defining track from 'Voodoo'.  It's abrupt end was apparently due to the tape having run out - an effect everyone recording seemed to like so kept that version in place.  But for a track already clocking in at 7+ minutes, how long was this track supposed to run at?

9. 'The Hypnotic', The Roots featuring D'Angelo
Illadelph Halflife, 1996; Geffen Records
"Driftin... driftin"
The story goes that when producer/engineer Bob Power was working on 'Brown Sugar', he invited his friend and collaborator Questlove in on the recording sessions as a possible contributor to the project.  Questlove - without hearing any of the recordings - declined the suggestion as he had no interest in working with R&B acts at the time.  Upon eventually hearing 'Brown Sugar' though, openly acknowledged the mistake; calls were placed and subsequent friendships made.

8. 'The Charade', D'Angelo
Black Messiah, 2014; RCA Records
"With the veil off our eyes we'll truly see"
From the album that came out of nowhere, following a fourteen year absence since 'Voodoo'.  There were definitely tracks released in the interim ('Imagine That', 'Bulls--t', 'So Far To Go') but the release of 'Black Messiah' totally caught people off guard.  Hailed as something of the best Prince song that Prince didn't make, this gem from 'Black Messiah' perhaps clocks in a little short at 3:20 but great production and vocals, not forgetting its sitar work from Pino Palladino, make it unforgettable.

7. 'Shit Damn Motherfucker', D'Angelo
Brown Sugar, 1995; EMI Records
"Why are you sleepin' with my woman?"
The genius of this track lies in its simplicity and will forever rank as not just a great D'Angelo track but a great track on the theme of infidelity - jocking for the number one slot on that list with Prince's 'I Hate U'.

6. 'Spanish Joint', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"Soul controller in control of me"
'Voodoo' was recorded amongst the holy grail of Soulquarian releases which included 'Mama's Gun' and 'Like Water For Chocolate' with many of the albums recorded at the same time and sharing similar musicians in Questlove, James Poyser and trumpeter Roy Hargrove, even the same studio mixer in Russell Elevado.  Elevado and Hargrove were really two artists that brought a great deal to 'Voodoo' as well as each other's project with Elevado serving as mixer for all of Hargrove's RH Factor projects ('Hard Groove', 'Strength' and 'Distractions').  'Spanish Joint' is as perfect an example of the chemistry on board for 'Voodoo' as any track could be.

5. 'Lady', D'Angelo
Brown Sugar, 1995; EMI Records
"A bunch of them are itchin' for you to scratch 'em"
Serving as the third single from 'Brown Sugar', 'Lady' peaked at #10 on the Billboard Hot 100 in 1996.  It was certified gold by the RIAA on June 4, 1996 and was nominated for a Grammy Award for Best Male R&B Vocal Performance in 1997.  Of all the songs that have paired D'Angelo with Raphael Saadiq, this may very well be the one that they will be remembered most findly for.  Saadiq - credited incorrectly on the album as "Rafael Saadiq" - helped to create a song as much a lasting piece of his own legacy as D'Angelo's.  (A quick shout out to DJ Premier's 'Just Tha Beat Mix' of the track with AZ.)

4. 'Me and Those Dreamin Eyes of Mine', D'Angelo
Brown Sugar, 1995; EMI Records
"Wishin' my fantasy, Would soon become a reality"
One of D'Angelo's most signature tracks, subject to countless remixes even to this day  which naturally says something about the song's impact.  A geniusly written tune capturing the innocence and naiviety of young love.  Bob Power on guitar really helps to make this track special but as we're mentioning remixes, we'd like to quickly shout out Erick Sermon's Def Squad remix with Redman and Sermon's 'Dreamy' mix too. 

3. 'Send it On', D'Angelo
Voodoo, 2000; Cheeba Sound/Virgin
"You soul's in me, your soul's somethin that I feel inside"
While 'Untitled (How Does It Feel)' may be the track 'Voodoo' is most remembered for, this has always been the signature track from the album for me.  Written with Angie Stone and Luther Archer (D'Angelo's brother) following the birth of D'Angelo and Stone's son, 'Send It On' plays like a quintessential Al Green track and Roy Hargrove just rounds the whole thing off perfectly.

2. 'Smooth', D'Angelo
Brown Sugar, 1995; EMI Records
"How do you retain your cool, Seems your love breaks all the rules"
Always referred to this as D'Angelo's most underrated song - in that it just doesn't seem to get mentioned too often at all.  Opening with its almost operatic sequence, the track morphs into a hip-hop inspired production that boasts the great Mark Whitfield on guitar.  'Smooth' also ranks as the first D'Angelo song that I really fell in love with.

1. 'Brown Sugar', D'Angelo
Brown Sugar, 1995; EMI Records
"Skin is caramel with those cocoa eyes, Even got a big sister by the name of Chocolate Thai"
Well, this is it.  The song that started everything.  And I don't just mean an incredible career that we're celebrating 25 years later, but a musical movement that went on to introduce artists like Erykah Badu, Bilal, Jill Scott... countless names with albums that will be remembered by future generations for the masterpieces they are.  'Brown Sugar', for me, is the quintessential D'Angelo song - co-written and -produced with A Tribe Called Quest's Ali Shaheed Muhammad, the unmistakable opening bars of the organ, it's unapologetic jazz vibe... to call it timeless is an understatement.  Just as 'Purple Rain' topped our Top 100 Prince list, no other song could top our D'Angelo list.

Beat Bronco Organ Trio: "A Trip Worth Taking" [Interview]

Since its inception in 2013, Rocafort Records have garnered a strong reputation as having unearthed some of yesterday's classic and unsung records from various parts of the world.  The Barcelona-based label initially hit big with their discovery of Johnny Zamot and secured wins with subsequent releases like The Nitty Gritty Sextet and 'Africa Gone Funkee'. 

But Rocafort have also provided a home to innovative new artists many of which carry on the legacy of the artists that the label have become renown in championing.  Break beat rapper Andy Cooper saw the release of projects including 'The Layered Effect' and now we have the release of Madrid's Beat Bronco Organ Trio's debut full-length, 'Road Trip'.

Comprised of members Gabri Casanova on keys, Lucas de Mulder on guitar and Antonio "Pax" Alvarez on drums - musicians who have all put in time as members of various bands amidst Spain's thriving funk and soul scene - the ten track project delivers with a selection of Hammond-heavy and up-tempo numbers.

April 2019 saw the release of Beat Bronco Organ Trio's debut 45, also released through Rocafort, which paired the singles 'Easy Baby' and 'Geriatric Dance'.  If you were quick then you picked up one of the limited vinyl pressings but, if not, you have the consolation that the digital versions are still available.  And while 'Geriatric Dance' is notably absent from the final 'Road Trip' tracklist, 'Easy Baby' thankfully did secure its place fitting in snugly amongst the gems throughout 'Road Trip'.

The album powers through at a great pace - many of the tracks hit with tremendous energy like 'Hard Play' and 'Beat Bronco', the latter of which displaying some incredible drumming, and there's the 60's Roy Ayers-esque aesthetic to the album's title track which is another strong highlight.  And then there's a couple of strong guest contributions from flautist Chip Wickham who guests on two of the album's tracks ('Squirtly' and 'Electro Pi') and vocalist/guitarist Alberto Palacios guests on 'Hey Hey' which serves as the group's ode to the music of the revered New Orleans musician, bandleader and producer, Dave Bartholomew.

Blue-in-Green:RADIO were thrilled to have caught up with Antonio "Pax" Alvarez from Beat Bronco Organ Trio to discuss the 'Road Trip'.

Congratulations on the release of 'Road Trip': are you happy with how the project is being received so far?
Thanks!! We are so happy with the reaction of the specialized media.  Having good reviews from people such as Craig Charles is something to be proud of.  And not only that, [the] general public is also digging it, fellow musicians from different parts of the planet sending good comments, etc.  [It's] definitely a good start.

Who were some of the band's early influences that went on to shape your own sound?
Well, we all come from the same musical source.  We all have our heroes in jazz, funk and soul styles.  The three of us dig all those 60s Hammond records - Blue Note, Impulse, and so on.  To name a few: Grant Green, Jimmy Smith, Ben Dixon, Lou Donaldson, etc.  The Hammond Organ is the glue of this kind of music.  All those Organ players and all the great musicians they gather are our biggest influence, among many others, of course.

How did the three of you come together to form Beat Bronco Organ Trio?
Lucas and Gabri were running a jazz-funk jam session in a club in Madrid.  After jamming together we decided to try out a trio and see what happens.  We were very surprised with the sound and the vibes of the three of us together.  After playing some shows, we decided to lay down a couple of songs in the Sweet Vandals recording studio.

How did you come to the attention of Rocafort Records?
One of the two owners of Rocafort Records, Ivan Ivanovich, runs the music in a venue in Barcelona, Marula Club.  We are long-time friends, so I called him for booking a show with my new project.  I told him we had two great numbers and we were looking for a record label to put them out.  He was interested in listening to those tunes for his record label and in a few weeks we had a solid offer to release a 45.

Can you talk a little about how the album was put together, and how the writing and recording process usually works for you?
The boys at Rocafort offered us to work on an album after releasing the 45.  Lucas and Gabri are great music writers. There were plenty of ideas on the table.  We worked together on the arrangements and parts, beginnings and endings. Some songs were created in the studio, based on a drum break, a guitar riff or a bass line.  We wanted to print the vibe of a live music session, so most of the songs are first or second takes.  I have to say that we made this record at Gabri’s home studio.  He is a hard working guy, he looks after every detail and his musical background is pretty huge.  Besides the musical part he gets all the credit on the technical engineering and musical production.

What led to the collaboration with Alberto Palacios and the cover of 'Hey Hey'?
By the time we were recording the album, we learned about the [passing] of Dave Bartholomew.  We decided to pay a tribute to him and his jaw-dropping musical career, life and influence over modern music.  Lucas suggested [the] killer cut 'Hey Hey' after hearing it on a local radio station.  We loved the idea of including Boogaloo on the LP.  After recording an instrumental version of the song, we thought it could be great to include a vocal number on the album.  Alberto Palacios has a fantastic band, Anaut (which I highly recommend), where Gabri is the keyboard man.  It couldn’t have been more easy.

It was really exciting to see Chip Wickham featured on two tracks: how did that collaboration come about?
Chip is a long time friend.  Both Gabri and I had different projects with him when he was living in Spain, a few years ago.  I play the drums (and easy vibraphone parts :-) on his two first solo albums.  Gabri plays piano on the first.  Chip took me for a UK tour with his fabulous band last summer, when the recordings were happening, and we talked about doing something together for the album.  We literally created a musical base for him to put a flute melody.  It’s a pretty heavy song in the line of our old projects together.

Spain seems to continually garner a strong reputation for upcoming funk and soul bands: how would you describe coming up through that scene?
Spain has a fantastic musical scene on many different styles and funk-soul is no less.  I think the influence of 90s UK acid-jazz played an important role.  Funk DJs and bands are a real deal in Spain since many years ago.  The three of us were on this scene for some time with different projects, backing international artists, etc.  Not famous but pretty well-known in Madrid as good funksters!

Who's a dream artist for the band to either record or perform with?
That's a great question!  I don’t know.... there’s lots of people I could think of, but most of them are unfortunately resting in peace now.  We have some people in mind for collaborations with the band in the near future.  All friends met along the road and great musicians.  If I was given the wish to bring any person I choose to record/tour with, that would be Curtis Mayfield.

 

Sweet Megg: "To the Moon and Back" [Interview]

In our recent feature on Megg's Dala Records label mate, Kyle Lacy, we mentioned the label's extraordinary ability to gift their artists the freedom to try something completely new and unfamiliar to what they have become accustomed to - Lacy was able to evolve his rockabilly aesthetic towards a more classic soul one and Antibalas trombonist Ray Mason was able to release two rock-inspired singles again completely subverting any expectations there may have been for him regarding a solo project.  The release of Sweet Megg's 'Under the Moonlight', however, potentially afforded Dala that same freedom by providing the label with an opportunity to once again subvert any expectations fans may have come to place on Dala themselves by aligning with Sweet Megg & The Wayfarers and their distinct presentation of jazz.

Born and raised in New York City, Sweet Megg's approach throughout 'Under the Moonlight' has genuinely been a fascinating one.  Having found boundless inspiration from artists that served as her introduction to jazz, like Billie Holliday and Bessie Smith, the intention now is to redefine what makes jazz, jazz.  Packaging her own sound with further genres and styles, there's a playful approach employed amongst these compositions designed, successfully, to build upon the personalities of herself and her Wayfarers collective. 

Comprised of members Ryan Weisheit (saxophone), Sam Chess (trombone), Thor Jensen (guitar), Rob Adkins (bass) and Chris Gelb (drums), The Wayfarers paint an exciting and dynamic soundscape to introduce themselves and their sound as they all elegantly skip between jazz, blues and folk capturing the eloquent essence of each and showcasing their own abilities through a variety of excellent solos throughout the project.  While 'High on the Mountain' introduced elements of folk and bluegrass, 'My Man' finds itself completely at ease immersed within Édith Piaf territory and then there's the album highlight which masterfully lures your imagination to the smoky jazz club ambience with 'Sweet and Slow'.

As a live act, Sweet Megg & The Wayfarers translate their infectious energy from the studio to the stage effortlessly having developed a strong name for themselves in their New York home as well as having graced stages in Paris and Moscow.  There's every hope now that 'Under the Moonlight' will see them able to carry their message even further in the near future - theirs is a refreshing and distinctive style built around genuine artistry that make Sweet Megg & The Wayfarers an incredible collective to watch bloom going forward.

Blue-in-Green:RADIO is incredibly excited to have secured time with Sweet Megg to discuss the new project and how The Wayfarers came together.

Congratulations on the release of 'Under the Moonlight': has this project been a long time coming for you?
It has been recorded since October but it kind of came about quickly.  I was offered a tour through Russia and I realized quickly that I hadn't recorded an album in years.  I was going to get to play philharmonic and jazz festivals and I thought I should have something to sell that really represents our sound.  I also realized it was a great opportunity to get the band more organized before getting on the road.  So I got each member to arrange one piece for the record and we banged it out in two days at Hive Mind studios in Bushwick.  When we were mixing, Billy [Aukstik] the engineer, invited us to release the record on Dala Records which is his lane.  So it all happened pretty quick.

What are some of your earliest memories of music growing up?
Mmm probably my parents tapes of 'Let it Be' and 'Riders of the Storm'.  They would play them all the time to chill me out.

How did you initially meet members of The Wayfarers and start playing together?
Most of them I met at a jam session downtown at Mona's but each at different times.  Ryan Weisheit and I met there and we started the band together six years ago.  We had a different cast of musicians then.  Chris Gelb, I met when he subbed for my drummer, another singer friend of mine recommended him.  I pretty quickly was hooked on his playing and he's been our first call since.  That was about three years ago.  Rob Adkins, I've known for many many years as he is a regular in the old time jazz scene.  I always thought he was so cool and was honestly too intimidated to call him for a while.  Slowly I started calling him more and more and then when we were offered this opportunity, I thought, well he's literally the best bass player I know so why would I work with anyone else!  Sam chess joined the band about a year ago.  I had a tour booked through the south and needed a horn player for the road cause Ryan couldn't do it.  I didn't know who to ask and I barely knew Sam.  He was playing at the jam session and we chatted and I thought "why not, he's a great player and seems fun".  So he went on tour with us and I immediately fell in love with his playing and his energy.  He's the youngest member of the band and honestly brings a smile to all of our faces constantly.  Thor is another musician I've known for years but we always orbited different realms of the scene.  I started calling him sporadically for gigs a year or so ago.  Then he started bringing pedals and getting a bit wild with me on gigs and I quickly realized he was the guitar player for me.  He brings the more modern rock and roll sound to the band yet he is also killllling at jazz.

How does the process of writing and creating new music usually work for you?
Well, in this case, most of the tunes are Standards that we arranged but the two originals both came pretty quickly.  For jazz originals, I find it much different than writing a folk or country song.  A jazz head needs to be short and concise.  One singular idea that is deep enough to carry a song but quick enough to fit into a 32 bar form.  I have way less jazz tunes because they are so much harder to write.  I need that one clear idea rather than letting it evolve in verses.  So 'When the Moon Covers Up the Sun', I wrote after we had the eclipse.  Someone had said the birds will sing their night songs and I thought to myself, "well that sounds like lyrics from an old time jazz song" so it pretty much flowed after that.

What was the process of putting 'Under the Moonlight' together like?
First, I assigned everyone a song to arrange.  I gave Chris Gelb 'My Man', Ryan Weisheit 'Sweet and Slow', Rob Adkins 'My Melancholy Baby', Thor 'Why' and Sam Chess did the two originals 'When the Moon Covers Up the Sun' and 'Under the Moonlight'.  I gave them a few weeks to work on it and then I organized two rehearsals.  We used the first rehearsal to play through the arrangements and give everyone a chance to take some notes on what may need adjusting after hearing it in context with the band.  Then with the rest of the first rehearsal we hashed out all the other tunes on the record.  The ones that will be played a bit more improvisational, 'I Cried For You', 'Who Walks in When I Walk Out', 'Devil's Gonna Get You', 'High on the Mountain' - those ones we had arrangements from playing them live and we just sort of created road maps for them.
The second rehearsal we solidified the arranged tunes and got them ready to record.  Then we went to the studio with Billy and set it all up and recorded in two full day sessions.  I was in the control room with my guitar and vocal mic so that I could be a bit isolated and the guys were all in the live room playing.  It was rather tight for them but they made it work.  Then I spend a day mixing with Billy and then we left for Russia a few weeks later.  When we returned I went into full speed on organizing the actual release of everyone. 

There's a great quote of you saying "jazz should be the most relatable form of music": can you expand on that?
Well, I think because it is improvisational therefore it reflects human emotion in real time.  There is very little art that is able to capture human existence in real time.  A soloist is speaking their truth and that truth may be what's going on inside or what's going on in the venue around them or more than likely both.  Jazz musicians are trained to reflect their surrounding really.  I mean, of course, within the language of jazz but nonetheless it is a reflection of the now at all times.  I guess that is what I mean.  Human existence is now and so the most relatable art form is one that reflects human existence as it is standing in front of us now.

Is there a song (by another artist) you wish you'd written?
There are millions.  'Stardust' by Hoagy Carmichael is probably one of the greatest songs every written, I definitely wish I could be anywhere near as good as him some day.

'Love and Unity' / 'We Got To Stand' by The Burroughs

If any two words could best describe the overall aesthetic of nine-piece funk & soul outfit, The Burroughs, then it would absolutely be their aptly named new single 'Love and Unity'.  The Greeley, Colorado, band unveil their awesome new digital 45 teaming 'Love and Unity' with 'We Got to Stand' which arrives fairly soon after the release of singles 'The Slip' and 'Forever in Love' recorded and released through the hallowed walls of Color Red last year.

Headed up by vocalist Johnny Burroughs, the collective have become a firm staple within Colorado's funk & soul scene with a heralded live set that has gone on to define the passion the band have for their craft.  Live music - if done right - is absolutely a spiritual experience.  James Brown would refuse to perform in venues in the 60s that enforced segregation of their audiences instead insisting that everyone sat together.  Believing in the power of that shared musical experience, The Godfather of Soul pushed forward the idea that music could build bridges and heal racial divides.  And this is a tradition wholly embraced by The Burroughs who understand the legacy of the music that they masterfully carry forward.

Helping The Burroughs realise their vision on this release is the revered talents of guitarist and producer, Eric Krasno.  As one-third of Soulive, and formerly of Lettuce, Krasno has recorded with and produced for artists including Chaka Khan, Nigel Hall, DJ Spinna, Talib Kweli and Ledisi, naming just a mere few... The Burroughs are as much a win for Krasno's résumé as he is for them.

While previous effort 'Forever in Love' was lush in its composition, courtesy of the production of Mike Tallman and the incredible Kim Dawson, 'Love and Unity' specifically targets the dance floor as it revels in good time funk with a small dalliance into the golden era of 90's break beat hip-hop.  The flip side, 'We Got to Stand', plays out a little more like a signature Eric Krasno production - a guitar-heavy composition, not at all dissimilar from what Lettuce have become accustomed to over their last few releases, and a sound The Burroughs find just as much comfort in further demonstrating their ability to adapt to varying styles while still injecting the charisma, personality and performances that fans have come to love and expect from their music.

Funk music's legacy will forever be about bringing people together.  Much like James Brown had envisaged all those years ago - and much like The Burroughs envisage now - leaving your troubles, worries and fears at the door and sharing something special and memorable with both friends and strangers.

That's what music is.  Love and unity.

For more information on The Burroughs, please visit their website here.

Blue-in-Green:PODCAST_#43_Julia Biel

Welcome to Episode #43 of the Blue-in-Green:PODCAST which sees Imran connect with the immeasurably talented Julia Biel.

Having released her fourth solo album, Julia takes time out with us to discuss her brand new album 'Black and White, Vol.1', the significance of the project's title, past albums and her introduction to music.  Having established herself as something of a celebrated and leading indie jazz champion, Biel’s fourth album release sees her music presented within a more stripped down and intimate setting pairing her unmistakable vocal with the black and white keys of a piano over the course of eleven songs. 

New Julia Biel projects will always be cause for celebration. Any listener fortunate enough to have caught either of her last three albums will attest to the devotion she has for her craft – an inimitable and exquisite vocal coupled with intricate penmanship that can be as sharp and cutting (‘You Could Turn a Rainbow Grey’) as it can be warm and affectionate.

Such a pleasure to have secured time with Julia for a genuinely standout episode.