Wednesday, March 15, 2017

Julia Fordham uses “The Language of Love” to romance and seduce #jazz

The British singer-songwriter’s acoustic jazz album, due April 14, reimagines classic hits as standards.  

According to singer-songwriter Julia Fordham, Ella Fitzgerald set the standard when it comes to tackling standards so she had to turn to other source material for her forthcoming collection, “The Language of Love,” which will receive its U.S. and European release on April 14 from Red River Entertainment with distribution via BFD/Sony RED.
“As the Queen of Jazz, Ella Fitzgerald, has already covered every traditional jazz song to perfection, we tried to find a new angle and hopefully put a fresh twist on some of our favorite songs,” the British-born, Los Angeles-based artist said.
Along with producer-arranger Grant Mitchell, Fordham culled a set list of modern pop, rock and R&B classics and revamped them as if they were pages from the Great American Songbook. The misty-voiced singer seductively emotes nine signature hits from the likes of Blondie, Eurythmics, Sting, The Beatles and Stevie Wonder in intimate acoustic jazz settings. She also reconfigured her own debut hit, “Happy Ever After,” and introduces a pair of new tunes - “Like You Used To Do” and “The Morning After (The Night With You)” - that she penned for the occasion with Mitchell.
Throughout “The Language of Love,” Fordham regally plies her deep-hued vocals on tracks that swing (“Call Me” and “Alone Again (Naturally)”), seduce through sultry bossa nova grooves (“Who’s That Girl” and “At Seventeen”), traverse a multicultural world music grid (“Happy Ever After”) and pitter-patter gracefully to a Latin jazz rhythm embellished by a sterling nylon guitar serenade by Ramon Stagnaro (“Fragile”). “I’m Not In Love” becomes a stunning torch song while a stark depiction of “Eleanor Rigby” strikes a hauntingly dramatic tone in a voice, piano and upright bass incarnation. “Sir Duke” bops to a groovy jazz beat highlighted by Wonder’s original “Songs in the Key of Life” tour trumpeter, Harry Kim. The lone tune taken from the Great America Songbook era is “Moon River,” a timeless, heart-tugging beauty written by Henry Mancini and Johnny Mercer. As for the new originals, “Like You Used To Do” is a steamy affair heated by soulful backing vocals from Judith Owen and Sista Jean McClain. A taut rhythm section comprised of David Piltch (upright bass), Herman Matthews (drums) and Ramon Yslas (percussion) construct a subtle Latin vibe on “The Morning After (The Night With You).”         
Two bonus tracks, “You Make Me Feel Like Dancing” and “Moon River” orchestrated with strings, will be available exclusively with the digital purchase of the album. Videos for “Call Me,” “Who’s That Girl,” “Eleanor Rigby” and “At Seventeen” were created and will soon be made available for viewing. Fordham will support “The Language of Love” with concert dates in London on July 28 & 29 at The Strand at PizzaExpress Live, October 18 in Los Angeles at Catalina Jazz Club and October 27 & 28 in New York City at Joe’s Pub.   
Fordham said she selected “The Language of Love” as the album title because “it seemed to conjure up a romantic image and the seductive feeling of the album.” The words are the opening lyrics of “Who’s That Girl” and are mentioned in the bridge section of “Call Me.”
Although she grew up writing and singing folk music in clubs since she was 14 in Portsmouth, England, Fordham discovered jazz shortly thereafter and has always incorporated nuances of jazz throughout her recording career that began with her eponymously-titled 1988 release. Her global hit “Love Moves” was featured in 1992’s “The Butcher’s Wife” starring Demi Moore. After relocating to Los Angeles two years later, three of Fordham’s albums were produced by four-time Grammy winner Larry Klein (Joni Mitchell, Herbie Hancock, Madeleine Peyroux). Her 2005 live CD (“That’s Life”) and DVD (“That’s Live”) featured a stellar ensemble including Klein on bass and Academy Award-winning trumpeter/composer Mark Isham, and showcased Fordham dueting with multiple Grammy winner India.Aire. For additional information, please visit
“The Language of Love” contains the following songs:
“Call Me”
“Who’s That Girl”
“Happy Ever After”
“I’m Not In Love”
“Alone Again (Naturally)”
“Like You Used To Do”
“Eleanor Rigby”
“The Morning After (The Night With You)”
“At Seventeen”
“Sir Duke”
“Moon River”
Bonus Tracks – Digital Only
“You Make Me Feel Like Dancing”
“Moon River (with strings)”

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Monday, March 13, 2017

Smooth Jazz Chart - Weekly Top 20 - March 13, 2017 #jazz

TW - LW - Artist - Album - (Label)
1 - 4 - Rick Braun - "Around The Horn" - (Shanachie Entertainment)
2 - 9 - Paul Brown - "One Way Back" - (Woodward Avenue)
3 - 3 - Nathan East - "Reverence" - (Yamaha Entertainment Group"
4 - 4 - Marc Antoine - "Laguna Beach" - (Woodward Avenue)
5 - 5 - Gerald Albright - "G" - (Bright)
6 - 2 - Peter White - "Groovin' - (Heads Up/Concord)
7 - 6 - Lindsey Webster - "Back To Your Heart" - (Shanachie Entertainment)
8 - 7 - Steve Watson - "Playtime" - (WatsonWood)
9 - 8 - Doc Powell - "This Is Soul" - (DPR Music)
10 - 11 - Adam Hawley - "Just The Beginning" - (Kalimba)
11 - 17 - Kayla Waters - "Apogee" - (Independent)
12 - 14 - Nick Colionne - "The Journey" - (Trippin 'N' Rhythm)
13 - 15 - Jazmin Ghent - "Chocolate Sunshine" - (
14 - 12 - Lawson Rollins - "3 Minutes To Midnight" - (Infinita Records)
15 - 16 - Threestyle - "Road To Monterey" - (Welovemusic Records)
16 - 20 - Phil Perry - "Breathless" - (Shanachie)
17 - 13 - Michael Lington - "Second Nature" - (Copenhagen Music)
18 - 10 - Brian Simpson - "Persuasion" - (Shanachie)
19 - 18 - John Novello - "Ivory Soul" - (529 Music)
20 - 21 - Darren Rahn - "Sonic Boom" - (Woodward Avenue Records)

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Wednesday, March 08, 2017

Smooth Jazz Chart - Weekly Top 20 - March 6, 2017 #jazz

TW - LW - Artist - Album - (Label)
1 - 4 - Rick Braun - "Around The Horn" - (Shanachie Entertainment)
2 - 2 - Peter White - "Groovin' - (Heads Up/Concord)
3 - 1 - Nathan East - "Reverence" - (Yamaha Entertainment Group"
4 - 3 - Marc Antoine - "Laguna Beach" - (Woodward Avenue)
5 - 7 - Gerald Albright - "G" - (Bright)
6 - 22 - Lindsey Webster - "Back To Your Heart" - (Shanachie Entertainment)
7 - 5 - Steve Watson - "Playtime" - (WatsonWood)
8 - 6 - Doc Powell - "This Is Soul" - (DPR Music)
9 - 26 - Paul Brown - "One Way Back" - (Woodward Avenue)
10 - 9 - Brian Simpson - "Persuasion" - (Shanachie)
11 - 8 - Adam Hawley - "Just The Beginning" - (Kalimba)
12 - 15 - Lawson Rollins - "3 Minutes To Midnight" - (Infinita Records)
13 - 11 - Michael Lington - "Second Nature" - (Copenhagen Music)
14 - 10 - Nick Colionne - "The Journey" - (Trippin 'N' Rhythm)
15 - 14 - Jazmin Ghent - "Chocolate Sunshine" - (
16 - 12 - Threestyle - "Road To Monterey" - (Welovemusic Records)
17 - 41 - Kayla Waters - "Apogee" - (Independent)
18 - 13 - John Novello - "Ivory Soul" - (529 Music)
19 - 33 - U-Nam - "Surface Level" - (Skytown Records)
20 - 27 - Phil Perry - "Breathless" - (Shanachie)

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Tuesday, March 07, 2017

Jeff Lorber Fusion - "Prototype" Release on Shanachie March 24, 2017 #jazz

Trailblazing pianist, composer, producer and bandleader Jeff Lorber is a consummate artist who continues to push himself to new plateaus. A groundbreaking Fender Rhodes pioneer along with the likes of Herbie Hancock, Joe Sample and Bob James, Lorber has triumphed as one of the most innovative musical minds in contemporary jazz. The multi Grammy-nominated pianist’s newest CD is a sterling example of his expansive musical roots, masterfully crafted harmonic and melodic sophistication, irresistible finger-poppin’ grooves and intricate rhythmic sense. “I came up with the name Prototype because we are always trying to up our game and come up with new exciting music that could be a prototype or innovative harbinger for the future of our musical style,” says the LA based pianist. Lorber, a Berklee College of Music alum who formerly majored in Chemistry at Boston College goes full throttle on Prototype, orchestrating like an alchemist in the lab concocting a majestic elixir of jazz, soul, funk, pop, R&B and gospel.

Prototype features longtime collaborators – bassist Jimmy Haslip (founding member of The Yellowjackets) and drummer Gary Novak. “From a production standpoint Jimmy adds a ‘big picture’ element. He contributes a lot with his warm bass sound and on the road he is without a doubt one of the finest soloists out there on his instrument.” Lorber adds, “Gary’s very versatile, imaginative, super solid and gets a great sound. He really shines playing over the funky polyrhythmic grooves we record.” The newest member to the all-star unit is saxophonist Andy Snitzer, who like Lorber (and the Brecker Brothers) hails from Cheltenham, PA. Lorber states, “Andy’s got a perfect approach. It’s soulful and melodic and he is not afraid of taking the music outside a bit.” Prototype also features special guests bassist Nathan East, guitarists Chuck Loeb, Larry Koonse and Paul Jackson, Jr. and saxophonist Dave Mann, among others. 

“Writing is something that I really enjoy and I’m always coming up with ideas to work on,” states Jeff Lorber, who penned nine of the tracks on Prototype and co-wrote one with Jimmy Haslip. “We put a lot of work, love and care into this record. I hope that everyone who hears it enjoys listening to it as much as we enjoyed writing and recording it. I think it’s the kind of record that will reap dividends by repeated listening because there’s a lot of great playing that you can only appreciate by really getting into it and checking out all the details.” Prototype opens with the spunky and electrifying “Hyperdrive” hinting to the euphoric musical excursion that lies ahead. The track features guitarist and Jazz Funk Soul collaborator Chuck Loeb who calls Jeff “an amazing guy and talent.” Lorber says of bassist Nathan East, who also appears on the track, “Nathan played on ‘Hyperdrive’ because I originally wrote that for his project. He played great on it so we kept it. I have to thank him for not using the track because it’s one of my favorites and the first single!”

The album’s title track is a spirited and pulsating mid-tempo blues. Lorber explains, “Blues is a huge part of our music and I think Andy really brings it home with his approach to the melodies and his solos.” Saxophonist Dave Mann offers a vibrant, smoothly executed and feel-good horn arrangement on this track as well as six others. “The shout chorus on ‘Prototype’ is great,” comments Lorber. “I’m glad to also feature guitarist Michael Thompson who plays a stellar solo on the end of the song.” Prototype also showcases the jubilant shuffle “Test Drive,” which serves up a thrilling rock section and finds Lorber doing double duty as he plays not only keys but guitar as well. He reflects, “A shuffle is something I can’t remember writing or recording since Kenny G’s first album. I think the title is great because to me it does have that sound of driving on a beautiful day on the Pacific Coast Highway here in Southern California.”
Jeff Lorber’s Fusion harness the fire and soul of Tower of Power (TOP) on the relentless, soulful and driving “What’s The Deal.” “The title is an inside joke and comes from something studio musician Mike Landau sometimes likes to say. Dave Mann’s horn arrangement is stellar and I’m playing the B3 on this,” says Lorber. “It’s fun to change up my sound and it seems to fit with the TOP influence. Andy takes over and once again injects the track with his unique combination of chops and jazzy and bluesy playing.” Lorber pays homage to Austria’s capital, famous for its waltzes with a catchy ditty in 3/4 called “Vienna.” “It is a beautiful city with a great jazz club (Porgy and Bess) that we like to play,” says Lorber. “This song has more of a bebop feeling and it’s a chance for Andy, Larry (Koonse) and I to show off some of our jazz cops especially when we are trading four’s at the end.” 

Larry Koonse, who is the guitarist heard soloing on the track, has played on Lorber’s last four recordings. “Larry is a very musical player who brings straight ahead point of view,” shares Lorber. “He also plays on ‘Vienna’ and ‘Hidden Agenda.’ I enjoy having him represent the bebop side of the music we play.” A standout on Prototype is the show-stopper, “The Badness,” which is a beautiful showcase for Lorber who shines as he cuts loose on his newly purchased and refurbished 1972 Fender Rhodes. “Hidden Agenda” is a memorable and swooning R&B flavored number while “Gucci’s” house groove revs us into high gear with an unforgettable and high octane performance and “Park West” demonstrates why Lorber is a master at creating nitty-gritty down-home grooves. Prototype comes to a rousing finale with the gorgeous ballad “River Song,” which calls to mind Lorber’s hit song “Anthem For A New America.” “‘River Song” sort of wrote itself in a little burst of inspiration,” recalls Lorber. “I wasn’t really expecting it. Gary gets to really show his jazz finesse here with the drum part.”

Jeff Lorber’s Fusion came to life in the 70s when the pianist attended Berklee College of Music. “I was listening to Miles Davis and Bitches Brew and the beginning of great fusion bands like Mahavishnu Orchestra, Weather Report and Return to Forever,” reflects Lorber. “There were also artists like Herbie Hancock, The Crusaders and Grover Washington, who pioneered a more melodic and funky type of sound. Not to mention the fantastic music being made in R&B and pop music like Earth Wind and Fire and Tower of Power.” Lorber envisioned Jeff Lorber Fusion a second generation to these fusion bands that were more R&B and melody oriented. A true clinician, Lorber has made it a point to study the long line of modern jazz pianists since 1945. “Herbie Hancock and Chick Corea have been major influences but I had to go back and try to figure out who they listened to and were inspired by,” says Lorber. “Some of these icons that come to mind are Bill Evans, Thelonious Monk, McCoy Tyner and Bud Powell.” He adds, “I also can’t forget all of the pianists who played with Miles Davis such as Red Garland, Wynton Kelly, Tommy Flanagan and Horace Silver.” Growing up in Cheltenham, Pennsylvania offered great inspiration for Jeff Lorber. “There were a lot of home grown record labels like Cameo Parkway and Philadelphia International (Gamble and Huff) not to mention tons of home grown talent. And the Dick Clark show originally came from there.” 

In 1977 Jeff Lorber Fusion released their self-titled debut. Their 1980 album Wizard Island made the introduction of a then little known Kenny G. The ensemble quickly gained traction and became one of the most popular jazz acts, touring nonstop. In 1982 Lorber made his solo debut with It’s A Fact. He scored his first Grammy nomination in 1986 for his radio hit “Pacific Coast Highway” from his album Step By Step. In the 90s Lorber released a successful string of projects including West Side Stories (1994), State of Grace (1996) and Midnight (1998). During this time Lorber also stayed busy producing for the likes of Michael Franks, Richard Elliot, Gerald Albright and Rick Braun, among others. The prolific pianist continued to add to his accolades with his shining recordings Kickin’ It (2001), Philly Style (2003), Flipside (2005), He Had A Hat (2007, Grammy nominated) and Heard That (2008), Now Is The Time (2010, Grammy nominated), Galaxy (2012, Grammy nominated) Hacienda (2013, Grammy nominated) and Step It Up (2015). Lorber made his first recordings for Shanchie as a member of Jazz Funk Soul with Chuck Loeb and Everette Harp on the albums Jazz Funk Soul and the Grammy nominated More Serious Business. 

Jeff Lorber has endured his own battle with Polycystic Kidney Disease (PKD) and has made it a mission to work with the PKD Foundation to raise awareness. “I was very lucky that my wife donated her kidney,” shares the pianist. “I’m going on 11+ years and I’m very grateful for that. My sister had a transplant a couple years ago and she is doing well also. There are some solutions that are being worked on but like many genetic based diseases it could be a long time before there is significant progress. People should know that there are 800,000 people in the US with PKD and two million worldwide. It’s a huge problem that unfortunately doesn’t get a lot of publicity.” Lorber, a self-professed enthusiast of podcasts, audio books, Spotify, YouTube and Apple Music concludes, “Since I had the transplant I focus on doing things that I enjoy and that are meaningful. I try to make the most of each day and to be productive and make great music.” There lies the Prototype for a beautiful life.

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Monday, February 27, 2017

Smooth Jazz Chart - Weekly Top 20 - February 27, 2017 #jazz

TW - LW - Artist - Album - (Label)
1 - 2 - Nathan East - "Reverence" - (Yamaha Entertainment Group"
2 - 1 - Peter White - "Groovin' - (Heads Up/Concord)
3 - 3 - Marc Antoine - "Laguna Beach" - (Woodward Avenue)
4 - 10 - Rick Braun - "Around The Horn" - (Shanachie Entertainment)
5 - 4 - Steve Watson - "Playtime" - (WatsonWood)
6 - 6 - Doc Powell - "This Is Soul" - (DPR Music)
7 - 7 - Gerald Albright - "G" - (Bright)
8 - 5 - Adam Hawley - "Just The Beginning" - (Kalimba)
9 - 8 - Brian Simpson - "Persuasion" - (Shanachie)
10 - 9 - Nick Colionne - "The Journey" - (Trippin 'N' Rhythm)
11 - 12 - Michael Lington - "Second Nature" - (Copenhagen Music)
12 - 14 - Threestyle - "Road To Monterey" - (Welovemusic Records)
13 - 16 - John Novello - "Ivory Soul" - (529 Music)
14 - 13 - Jazmin Ghent - "Chocolate Sunshine" - (
15 - 19 - Lawson Rollins - "3 Minutes To Midnight" - (Infinita Records)
16 - 15 - Euge Groove - "Still Euge" - (Shanachie)
17 - 52 - Phil Perry - "Breathless" - (Shanachie)
18 - 27 - BWB - "BWB" - (Artistry/Mack Avenue)
19 - 18 - Paul Jackson Jr. - "Stories From Stompin' Willie - (Branch, Records Inc.)
20 - 24 - Justin Klunk - "Clarity" - (Justin Klunk)

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Tuesday, February 21, 2017

Smooth Jazz Chart - Weekly Top 20 - February 20, 2017 #jazz

TW - LW - Artist - Album - (Label)
1 - 2 - Peter White - "Groovin' - (Heads Up/Concord)
2 - 1 - Nathan East - "Reverence" - (Yamaha Entertainment Group"
3 - 3 - Marc Antoine - "Laguna Beach" - (Woodward Avenue)
4 - 6 - Steve Watson - "Playtime" - (WatsonWood)
5 - 4 - Adam Hawley - "Just The Beginning" - (Kalimba)
6 - 5 - Doc Powell - "This Is Soul" - (DPR Music)
7 - 7 - Gerald Albright - "G" - (Bright)
8 - 8 - Brian Simpson - "Persuasion" - (Shanachie)
9 - 10 - Nick Colionne - "The Journey" - (Trippin 'N' Rhythm)
10 - 42 - Rick Braun - "Around The Horn" - (Shanachie Entertainment)
11 - 11 - Ken Navarro - "Bonfire" - (Positive Music Records)
12 - 14 - Michael Lington "Second Nature" - (Copenhagen Music)
13 - 13 - Jazmin Ghent - "Chocolate Sunshine" - (
14 - 19 - Threestyle - "Road To Monterey" - (Welovemusic Records)
15 - 9 - Euge Groove - "Still Euge" - (Shanachie)
16 - 31 - John Novello - "Ivory Soul" - (529 Music)
17 - 15 - Richard Elliot - "Summer Madness" - (Heads Up/Concord)
18 - 12 - Paul Jackson Jr. - "Stories From Stompin' Willie - (Branch, Records Inc.)
19 - 20 - Lawson Rollins - "3 Minutes To Midnight" - (Infinita Records)
20 - 23 - Sharon Rae North - "Sincerely Yours" - (Sharon Rae North)

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Friday, February 17, 2017

Gerry Gibbs & Thrasher People "Weather or Not" 2/24/17 release #jazz

In the best case, an album has a story to tell, a hook, that will get a record attention and help to put the good word into the ears of all the right people. In the case of Gerry Gibbs’ new album, there are three great stories to tell. Following the successful reception of drummer, composer, bandleader, producer Gerry Gibbs' last three CDs, all reaching #1 for 15 weeks on the international Jazz charts, along with a Grammy nomination with his Thrasher Dream Trio (featuring jazz icons Ron Carter and Kenny Barron), Gerry went in search of new faces to start a fresh project. This time he incorporated a mix of genres with influences from all over the world, while also borrowing from different periods in music. The result is this extraordinary multi-instrumental trio.
Gerry Gibbs, during his 33-year career as a musician, has recorded 11 solo CDs as a leader. Gibbs' first CD, The Thrasher, featuring Ravi Coltrane was executive produced by Quincy Jones for his own Qwest label back in the late '90s. Gibbs has continually worked, recorded and toured with a who's who of the greatest icons, from many generations of music going back some 90 years. He has drawn from his experiences working with everyone from Bebop legends Clark Terry, Donald Byrd, James Moody to forward thinkers such as legends Alice Coltrane, Larry Coryell, Stanley Clarke, Ornette Coleman, Billy Childs and Parliament Funkadelic to some of today's newest artists currently on the scene, such as Flying Lotus and Kamasi Washington. Combine that with Gibbs’ penchant for no boundaries and you get this wonderful new CD featuring a band that makes 28 ambitious songs sound like 28 different bands.

Most prominently, Weather or Not, a double-disc set, is split down the middle. The first disc is a tribute to the music of fusion super group Weather Report. The second disc is subtitled “The Life Suite: 1981-2016” (selected songs that Gibbs chose from music he composed from his 11th grade year in high school to the present) and includes an eclectic array of Gibbs’ originals all played in trio format. More on these two story lines later. The last thing, and perhaps the biggest story here, is the Thrasher People, the new band Gibbs put together for this project and going forward.

Each member of this trio is a virtuoso on many instruments: Alex Collins, 30, is an extraordinary talent who plays acoustic piano, Fender Rhodes and organ, as well as adding unique vocals as a fourth instrument on select songs. Hans Glawischnig is the acoustic and electric bass wizard. At times he plays the electric bass like a guitar, using a pick and guitar amplifier. With Gibbs doing most of the “thrashing” as leader, composer, arranger and drummer, he is also a gifted multi-instrumentalist, supplying Mini Moog, vibes, marimba, percussion, electronic programming, kalimba and quica, while adding a choir of voices and beat-boxing. His Thrasher People join him hungrily, enthusiastically, with the excitement of a band discovering successful new sounds together. This is not just a recording of three guys in the studio reading through 28 compositions; it’s an actual working band. They rehearsed over 40 times before recording the music on this CD to develop and document their unique and individual combinations of sound, composition, orchestration, texture and rhythm.

Gibbs, on the hunt for new band mates for over a year, first met Collins at a New York jam session and the two hit it off. Upon hearing Gibbs' concept for a Weather Report tribute recording, Alex came up with his own unique take on Zawinul, Pastorius and Shorter, et al. Glawischnig, a decade and a half older than Collins, had a firm foundation in the WR repertoire, as well as a keen interest in joining the project. Together, the band performs a wide spectrum of material across both discs.

On the Weather Report CD, few stones are left unturned as the trio tackles the classics and many more. The “Birdlands,” “Teen Towns” and “Palladiums” are all here, but these and other tunes represented here cast Weather Report in an entirely different light. Good thing, too, as it would be a fool's errand to try to take on the band at their own game; a point expressed enthusiastically by Weather Report's founding member Wayne Shorter. Classic WR tunes are re-imagined; the rhythms are different while the organic nature of the compositions and it's sound are fleshed out and turned way up. The sparks fly thanks to Collins’ prodigious multi-keyboard talent. Glawischnig’s unerring bass lines smartly steer clear of any of the great Jaco Pastorius’ unmistakable, signature approach to the electric/fretless bass. Gibbs’ drumming is masterful throughout. His fills, sexy brushwork, and rapid-fire drum stylings masterfully reflect a deep-layered knowledge of the repertoire at hand, while allowing his own approach to sit comfortably when reflecting on Weather Reports’ formidable drum chairs, occupied by Alphonse Mouzon, Peter Erskine, Alex Acuna, among others.

On the disc of originals, Gibbs and his Thrasher People dig deeply into Gibbs' own compositions. The story for the second CD reflects the concept of 16 songs sounding like 16 different bands. This was necessary and fitting, as they were penned over a time spanning 35 years. The songs veer from Bebop ("Paul and Sid's Blues"), to Brazilian (“Just Glad to Be Anywhere”) to R&B instrumental (“Patrice Rushen"), to ’70s TV soundtrack music ("Kojak”) and even Gibbs combining beat boxing with an African kalimba ("St. Marteen"). There’s also flamenco, gospel, funk, soul, and jazz/rock flavors-all filtered through a deep jazz funnel.

The creative juices are flowing and genuine from top to bottom, as Gibbs proves he is, and has seemingly always been, an ever-flowing river of solid & creative source material. Truly a wealth of originality and musical excitement on this outstanding new double-disc set, with more diversity than can just be put into one category.

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