It's been nearly a decade since Charlie Hunter collaborated with other guitarists (the great T.J. Kirk band of the mid-'90s), but Earth Tones finds him revisiting the format with very different results. Hunter got together with legendary Jamaican guitarists Ernest Ranglin and Chinna Smith for an easygoing set of (mostly) covers that largely tread the kind of Jamaican-flavored jazz that Ranglin's been known for for years. There are some reggae and dub elements here and there, but you'd be hard-pressed to call it a reggae album. Recorded with very few overdubs, the cooperative arrangements are perfect, with plenty of space for everyone and the players almost finishing each other's thoughts. Hunter's guitar always has a bit of Leslie effect on it (remember, he's throwing down the basslines at the same time!), Chinna sticks to acoustic, and Ranglin plays with his trademark clean electric sound, so it's really easy to pick out who's doing what and compare their different styles.

The Bay Area-born guitarist Charlie Hunter burst on to the scene in the '90s with his eight-string guitar, which enabled him to simultaneously play solos, melodic lines, and basslines. After collaborating artists like Norah Jones, Kurt Elling, and Mos Def, Hunter returns to his familiar triad format with drummer Simon Lott and keyboardist Erik Deutsch. Armed with a filed-down, seven-string axe, Hunter's edgy, twangy tones owe more to grunge than to Grant Green. This 10-track CD spotlights the leader's jazz-fluent soloing, counterpointed by some spirited rock-friendly fusion, as especially on the Crescent City syncopated "Wizard Sleeve," the super-swinging, multi-tempo "Spoken Word," and the cavernous melodic mood on "Ballad." Hunter doesn't break musical barriers per se; he redraws them, and in doing so, writes his own sonic signature on the open stylistic canvas that covers this still-young century.

There's no end of worthy targets on this Afrobeat assault. George W. Bush, pharmaceutical companies, and the just plain lazy all get a well-placed rhythmic kicking. And while it would be easy enough to bask in the long shadow of Fela Kuti, Aphrodesia drops in all manner of strange bits on the fringes. They've got Fela's full lung sing-a-long thing down but woven together with a '70s funk-soul thread reminiscent of Donny Hathaway, Lonnie Liston Smith, and Fred Wesley's Horny Horns. They also kick up dust similar to modern African artists like Tinariwen, showing this large group has their collective ear on the Serengeti's contemporary developments. So many politically charged bands end up teetering off their soapbox pretty quickly (I'm looking at you Spearhead). Not so with Aphrodesia, who jangle our bones and let the ideas seep into the bloodstream through active transport.

In the early 90's Alessandro ‘Maestro’ Garofalo met Ohm Guru and started to collaborate with IRMA records. As composer, keyboard player and arranger he has worked on albums by DJ Rodriguez, Ohm Guru, Pastaboys, Black Mighty Orchestra, LTJ Xperience, Ninfa, plus an array of singles by various IRMA Artists. His unmistakable touch can be heard on several IRMA evergreens like “Moon Beat” by LTJ Xperience and “Please, Please, Please” by Ohm Guru. His first solo Album, “Coffe Connection”, spans from Nu Jazz to electronic Lounge and involves guest musicians Alan Scaffardi (Papik's lead singer), Silvia Donati (Bossa Nostra, Arcoiris, Banda Favela, Belladonna), Ricky Phillips, Clan Greco and the inevitable Ohm Guru.

Swing to bop tenor saxophonist Harry Allen breezes along in style with his rounded and literate sound on yet another album, this time of New York City - inspired show tune standards played with heart and easygoing feeling. Several tracks feature the excellent trombonist John Allred, who by now should be garnering more attention as a Top Five performer on his instrument in the mainstream jazz world, and proves all he is worth alongside Allen. The tracks without the extra horn are not as interesting, but certainly give their share of pleasure for Allen's fans who enjoy his post - Lester Young/Stan Getz derivations. Pianist Rossano Sportiello is a crown jewel in these songs that glide along effortlessly, buoying Allen's swing on the lesser-known "Rose of Washington Square" from the repertoire of Red Nichols, a solidly-in-the-tradition "Broadway Melody," and Cole Porter's steady "Down in the Depths of the 90th Floor" (sung many years ago by Ethel Merman) with a drum intro by veteran Chuck Riggs.

Carine Bonnefoy - pianist, composer, arranger from France. In 1990 she won 1st prize for interpretation & orchestration, special press and jury award Jazz Futur 83 competition in Aix-En-Provence. In 1992 she joined the Paris Jazz Big Band, and played with names as Ted Hawke, Essiet O. Essiet, Didier Lockwood, Henri Texier, Kenny Wheeler, Bob Mintzer and many others. In demand for her talents of composition and arrangement, shes a important figure of the french jazz scene today.

Ostrom's drumming was a key element in shaping the sound of the Esbjorn Svensson Trio, functioning at two levels, by providing the rhythmic spring to the trio's step, and proving a constantly shifting, shimmering colouristic backdrop that seemed to make the trio somehow sound a 'bigger' ensemble than that of three musicians. His return to the music scene after the devastation of losing a lifelong friend and close musical collaborator is thus a cause for celebration. A strikingly original musician, the first chapter of his new career post-EST provides a panoramic view of his own musical vision and this wide ranging album moves from ambient ('Longing') to jazz-rock ('Piano Break Song') to voice ('Alifia Mia') in an ensemble dominated by the lead voice of Hourdakis' guitar. It is fitting then that the centrepiece of the album, Ostrom's highly personal tribute to Svensson, 'Ballad for E', should have guest Pat Metheny on guitar in this moving musical soliloquy. With former band mate Dan Berglund, they jointly illustrate how music can mean so much more than mere words.

The sophomore album from Austin, TX-based garage soul ensemble Black Joe Lewis & the Honeybears. Having spent the last two years building a considerable reputation with their high-voltage brand of blues, dirty soul, and rock 'n' roll, Black Joe Lewis & the Honeybears take it to another level with Scandalous.

SCION`s commitment to artistic expression provides a platform for passionate musicians to focus on developing their art and exploring the endless possibilities.

Mouse on the Keys is a trio instrument band. Based in Tokyo, the group consists of its former members, "Nine Days Wonder" (a leading band on the Japanese post-rock scene) Akira Kawasaki (drum, keyboards) and Atsushi Kiyota (piano, keyboards), along with Daisuke Niitome (piano, keyboards), who has played drums and composed music for funk/hiphop bands. The unique sound of the band's drums, two pianos, and two keyboards combines the sense of urgency from rock and hard core with tastes of early/contemporary classical, jazz and various dance music.

This is the debut album of original music from one of the original turntablists, the longtime DJ for Madlib and the late J Dilla, and our pick for world’s greatest hip-hop DJ. But this is not a “DJ album”. Not a “beat album”. Not a mix tape. This is an original work of instrumental hip-hop … electronic music … dance music … smoke tracks … assorted cold rock stuff. J. Rocc first made his name as co-founder of The World Famous Beat Junkies in the 1990s with Rhettmatic, Melo D, DJ Babu and Shortkut, becoming a seminal force in the rise of turntablism and instrumental hip-hop. He went on to host The Fantastic Four Radio show on L.A.’s Power 106, perform as the third member of Madlib & J Dilla’s Jaylib, and tour the world as a solo artist, DJ and producer.

Truth & Soul presents the third volume of their singles collection entitled, Fallin Off The Reel. Truth & Soul have been consistently releasing limited edition 45 singles never exceeding 2000 copies pressed. For the first time, those who don't have a record player or simply missed out on these singles, will finally be able to hear these musical gems that have given Truth & Soul their impeccable reputation for quality music.

Since its May 1st release, Just Play can be heard on a growing number of both terrestrial and internet radio stations across the globe. On November 29th of 2007, Just Play won the Los Angeles Independent Music Award in the Instrumental Jazz Category. Shades of Blue was a Top 5 Winner in the Great American Song Contest.

A string of nu-standards of the rising "deep funk" scene were released on the way, "Pushin On", "Hurry On Now" (QSO), "Humankind", "Seven Nation Army" (Nostalgia 77), "Step It Up", "Bring It Home" (The Bamboos). A fever for Alice's unique vocal talents is quickly spreading and collaborations & remixes start to appear on wax with The Nextmen, Grant Phabao, The Lone Ranger, Bonobo, DJ Vadim, among others…
Rumors of a deal with a major company were flying around, but after new featurings on Natural Self, Unforscene, Quantic, Tm Juke and Mr Scruff's new recordings in 2008, she was finally launching her own company, Little Poppet Records, to release independantly her second album.
Produced by TM Juke, "Pot of Gold" is the new chapter in Alice Russell's career. She's had the exposure with all those singles for modern groovy UK leading labels like Tru Thoughts, Ninja Tune and such. She knows by now that touring and independant managing and producing are the way for her to make a living. So here's another finely crafted collection of colorful soulful songs dressed with live strings, horns and piano - all ready for the road!