Céline Rudolph, Lionel Loueke - Obsession

Styles: Vocal And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 48:00
Size: 111,4 MB
Art: Front

(4:32) 1. C'est un Love Song
(5:30) 2. New Day
(6:56) 3. Veuve Malienne
(5:02) 4. Archaic
(5:33) 5. Here Comes the Rain
(3:55) 6. O Leãozinho
(5:22) 7. Morning Blues
(3:51) 8. Le Vent du Nord
(3:31) 9. Fábula
(3:44) 10. Rêve Obsession

A singer playing the guitar. A guitarist who sings. An album on which these two exceptional musicians show that in music, too, the whole can be bigger than the sum of its parts. Their common "obsession" opens up musical horizons, sounds like Jazz and singer-songwriter-elegance, like Cotonou, Rio, Memphis and Berlin.

It is music that speaks of the passion that loves, of deep moments, life, pleasure and the Blues. This duo, which most often sounds like a band, sometimes even like an orchestra, sings ten glorious, spontaneous songs, sometimes in English, sometimes French, sometimes in Celinish or Lionelish.

You may think, after just one listen, that you ve known these songs all your life, but there is really only one cover among them (Caetano Velosos "O Leãozinho"), while the rest of the songs were written by either Céline Rudolph or Lionel Loueke or both of them. Make no mistake: this is a complex, diverse album, while at the same time homogeneous and subtle, aptly titled Obsession. By Editorial Reviews
https://www.amazon.com/Obsession-C%C3%A9line-Rudolph-Lionel-Loueke/dp/B075GBJ6MH

Obsession

---

Gretchen Parlato & Lionel Loueke - Lean In

Styles: Vocal, Guitar
Year: 2023
File: MP3@320K/s
Time: 38:51
Size: 94,7 MB
Art: Front

(4:58) 1. Akwê
(5:03) 2. I Miss You
(4:27) 3. If I Knew (feat. Burniss Travis & Mark Guiliana)
(1:19) 4. Okagbé Interlude
(4:54) 5. Astronauta
(0:57) 6. Mi Wa Sé Interlude (feat. Marley Guiliana, Burniss Travis, Mark Guiliana)
(4:47) 7. Muse
(3:53) 8. Nonvignon
(4:49) 9. Lean in (feat. Mark Guiliana)
(4:16) 10. Painful Joy
(1:12) 11. Dù Wé Interlude (feat. Burniss Travis & Mark Guiliana)
(4:30) 12. Walking After You

With a voice as sweet and cool as a spring breeze, Gretchen Parlato would sound at home in any cozy jazz club from Paris to Sao Paulo. The sound of Lionel Loueke's voice and guitar is at least 60 percent rhythm, with his plucking and crooning having an innate percussive pulse running through it. Two decades of collaboration and close friendship are on display with Parlato and Loueke's first full duo-recording; Lean In shows the breadth of their globe-spanning interests and dazzling versatility, but most important is the heartfelt warmth through every moment.

The closeness is on display from the first minute, where the duo weave a catchy lead melody and begin scatting their way through the opener in flighty but clearly honed unison. They continue swooping and dipping up and down the scales through pop covers and eloquent originals alike. Loueke's guitar lines and vocal pops make the sound feel as full as that of a whole band already, but a delightfully simpatico rhythm section fills things out that much more in some well-chosen spots, percolating through wandering interludes and fetchingly slinky funk grooves alike.

The group makes a sunny whirl across practically the whole globe, bridging Benin with Brazil and singing in languages from three continents. Parlato's croon stays dreamy and appealing, even when singing of lost loves and ended relationships. Loueke coasts in step with equally fluid melodicism and unreserved cheer. It's a work all about connection, discovery and the simple joy of exploring together. By Geno Thackara https://www.allaboutjazz.com/lean-in-gretchen-parlato-edition-records

Personnel: Gretchen Parlato: voice / vocals; Lionel Loueke: guitar, acoustic.

Additional Instrumentation: Burniss Travis: bass; Mark Guiliana: drums.

Lean In

---

Lionel Loueke - Close Your Eyes

Styles: Vocal And Guitar Jazz
File: MP3@320K/s
Time: 59:58
Size: 140,2 MB
Art: Front

(6:03) 1. Footprints
(6:41) 2. It Might as Well Be Spring
(4:16) 3. Countdown
(4:15) 4. Moon River
(3:39) 5. Solar
(6:24) 6. Blue Monk
(4:38) 7. Body and Soul
(7:44) 8. Close Your Eyes
(7:12) 9. Skylark
(5:26) 10. We See
(3:35) 11. Naima

There is so much to enjoy in Close Your Eyes, guitarist Lionel Loueke’s first ever album of standards, released (*) today. The recorded was made in September 2017 on a one-day break between overlapping tours with Chick Corea and Herbie Hancock. Loueke plays electric guitar throughout. I was first captivated by his wonderful lightness, almost weightlessness of touch in It Might As Well Be Spring. But he finds all kind of expressive possibilities and directions to take. And with bassist Reuben Rogers and drummer Eric Harland he is in top-flight company. Moon River it is all about the silences, the spaces in which to daydream and take one’s time.

Skylark and Wayne Shorter’s Footprints have been the singles which were released on streaming services in advance of today’s release, and both of those are stories with an African angle. In Skylark, the tune emerges from hi-life motifs, and Loueke has a similar way to Martial Solal of of relishing and circling round some favourite contours the tune. Footprints steps into the open from African polyrhythms and a guitar sound and technique which imitate the kora. We are in a place where disguise and surprise are the norm. Coltranes’s Naima, the album closer, is even more effectively disguised.

Solar, on the other hand, is a feverish trio work-out at a ‘you-can’t-be-serious’ tempo, with Eric Harland invited to play out an ending which feels like an elegant and stately denial that any of the ferocious mischief which has gone before it ever actually happened. Blue Monk is a slow walk, where Reuben Rogers lords the time magnificently and empathetically, Loueke finds the dirtiest of blues licks and Eric Harland has something creative, individual and apposite yet out-of-the-ordinary to add at every moment.

The longest tune is the title track Close Your Eyes at nearly eight minutes, but everything flows so easily and naturally, the time passes far too quickly. (*) To be pedantic this album is actually a re-release, in the same way that Hope was. That album had previously been part of high-end vinyl specialist Newvelle’s second season (Reviewed here), with Lionel Loueke in duo with pianist Kevin Hays, and subsequently released as a separate album on Edition Records.This new Sounderscore release is Loueke’s contribution to Newvelle’s Season Three, with this CD presentation adding three tracks to the eight which were on the original release. Sounderscore is run by Swedish/Italian New York-based bassist Massimo Biolcati. https://londonjazznews.com/2021/10/22/lionel-loueke-close-your-eyes/

Personnel: Vocals, Guitar – Lionel Loueke; Acoustic Bass – Reuben Rogers; Drums – Eric Harland; Guitar – Lionel Loueke

Close Your Eyes

---

Terence Blanchard - Choices

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 73:39
Size: 170,5 MB
Art: Front

( 6:45)  1. Byus
( 0:54)  2. Beethoven
( 3:46)  3. D’s Choice
( 6:01)  4. Journey
( 7:11)  5. Hacia del Aire
( 0:40)  6. Jazz Man in the World of Ideas
( 4:20)  7. Him or Me
( 6:08)  8. Choices
( 6:30)  9. HUGS (Historically Underrepresented Groups)
(12:17) 10. Winding Roads
( 4:26) 11. When Will You Call
( 0:55) 12. A New Note
( 5:16) 13. A New World (Created Inside the Walls of Imagination)
( 6:04) 14. Touched By An Angel
( 2:19) 15. Robin’s Choice

Trumpeter/band leader/ film scorer Terence Blanchard is the epitome of an artist who's made good choices. One of the distinct voices in the post-Miles Davis and Wynton Marsalis era, he has moved from being a young-lion with seminal players such as Donald Harrison in Black Pearl (Columbia, 1988), to delivering progressive projects such as Flow (Blue Note, 2005) and winning multiple Grammy awards for albums including 2007's A Tale Of God's Will (A Requiem For Katrina) (Blue Note).  Recorded at the Ogden Museum of Southern Art, Choices is, surprisingly, his first completed CD made in his hometown of New Orleans. The warmth, ambiance and acoustics of the venue pours through each track, channeled through modern compositions and inspired performances by a dynamic sextet which includes Fabian Almazan (piano), Derrick Hodge (bass), Kendrick Scott (drums), Lionel Loueke (guitar) and saxophonist Walter Smith III. Blanchard is a meticulous but selfless leader, allowing the younger artists to shine, exchange ideas and contribute to the open process. Imprinted with Blanchard's cinematic and swinging style the music is rooted but contemporary; advocating new ideas that include excerpts of a conversation between Blanchard and philosopher, author, and activist, Dr. Cornel West. The combination of eloquent intellectualism and stirring composition forms a thematic imprint. West's insightful words sprinkled throughout the music are like poetry uplifting, enlightening and provocative; expertly placed within the music as he articulates upon the ideas, questions and choices concerning music, humanity, and spirituality a jazz dialog for the mind and ear. The tracks showcase these young artists as distinguished players and scintillating writers, including Smith's sophisticated movements in "Byus," and Scott's Brazilian-tinged "Journey," with seductive vocals provided by singer Bilal Sayeed Oliver (aka Bilal), who in turn gives a riveting performance on his soulful Lament, "When Will You Call." Almazan's "Hugs" shows his adroit pianism with beauty and drama as it pushes the musicians to new heights. In contrast, Hodge's "A New World" takes it to the streets with a funky swagger, as Blanchard and Loueke shred some notes.  Still, Blanchard's consummate imprint and warm tone permeate the recording, and his mirrored tracks "D's Choice" and "Robin's Choice" are masterful full of emotion, spirit and humanity. Mixing jazz and philosophy within a vibrant setting, the aptly titled Choices, continues to bear the good fruits of his thoughtful decisions. ~ Mark F.Turner https://www.allaboutjazz.com/choices-terence-blanchard-concord-music-group-review-by-mark-f-turner.php

Personnel: Terence Blanchard: trumpet; Fabian Almazan: piano; Derrick Hodge: bass; Kendrick Scott: drums; Lionel Loueke: guitar; Walter Smith III: saxophone; Dr. Cornel West: spoken word (1-3, 6, 8, 10, 12, 13, 15); Bilal: vocals (3, 4, 10, 11, 14).

Choices

---

Donald Brown - Fast Forward to the Past

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 71:19
Size: 164,3 MB
Art: Front

(9:25)  1. Eminence
(6:39)  2. Skatterbrain
(7:09)  3. Carter Country
(7:13)  4. The Thing About George Coleman
(5:22)  5. Skain's Domain
(8:04)  6. Gazelle
(4:58)  7. Vera Cruz
(6:35)  8. Never In My Wildest Dream
(8:50)  9. Where Pelicans Fly
(6:59) 10. Don't Forget to Tell Her You Love Her

A fine pianist and educator, Donald Brown has also been a prolific composer. He grew up in Memphis and actually started out on drums and trumpet. By the time he attended Memphis State University (1972-1975), he was playing jazz piano. After years of local work, Brown replaced James Williams with the Jazz Messengers (1981-1982). He went on to teach at Berklee (1983-1985) and the University of Tennessee (starting in 1988), recorded albums as a leader for Sunnyside and Muse, and had his compositions performed and recorded by a wide variety of top modern jazz players. ~ Scott Yanow https://www.allmusic.com/artist/donald-brown-mn0000180014/biography

Personnel:  Piano – Donald Brown; Acoustic Guitar, Electric Guitar – Mark Bolling; Bass – Essiet Essiet, Robert Hurst; Drums – Eric Harland; Electric Guitar – Lionel Loueke; Flute, Alto Saxophone, Soprano Saxophone – Danny Walsh ; Soprano Saxophone, Tenor Saxophone – Jean Toussaint; Trumpet, Flugelhorn – Bill Mobley; Vibraphone – Steve Nelson

Fast Forward to the Past

---

Eric Le Lann & Jannick Top - Le Lann Top

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 56:35
Size: 129,8 MB
Art: Front

(4:15)  1. Middle access
(5:16)  2. Today
(6:34)  3. Spirit
(5:27)  4. It's so blue
(6:06)  5. Soul
(6:30)  6. Babylone
(7:08)  7. Back time trip
(5:18)  8. Mysterious city
(9:56)  9. The silent track

First of all a surprise, let's face it: this meeting between the capital trumpet player, native Breton and the master bassist, Marseille by birth, has something to surprise illico, no? ... especially as, if we played at the blind, why not (the famous blindfold test that is practiced between friends to get trapped), it's well Miles Davis (as defined by Laurent Cugny in his book Electric Miles: 1968 - 1975 , editions Birdland 1993), which would come out winner from the first title ... and more with Spirit (well, in the spirit of?) ... well, lost, it's him Eric Le Lann, with well-stocked jazz, faithful partner of Martial Solal (their Portrait in black and white and the different formations of the pianist) ... and Jannick Top, Christian Vander's accomplice in Magma, then accompanist and musical director of various variety stars. "Monsters" so that the press service compares to air and fire ! .... if you want. The two leaders have called on musicians such as guitarist and singer Lionel Louéké (heard with Herbie Hancock) and talented young drummer Damien Schmitt (plus some good guests) to perform original compositions co-signed. Scientific meeting of contrasting atmospheres, alternation of acoustic and electric music, diversity of colors (dark for the last two titles), an indisputable cohesion. All in all, a disc bursting with a beautiful energy ( Middle class ) or groovy at will ( It's so blue ) during which the trumpet player excels in the transmission of highs and other high-pitched and where the guitarist expresses the extent of his Early talent, supported by an irreproachable bassist and drummer as well as guests at their height. http://www.culturejazz.fr/spip.php?article405

Personnel:  Eric Le Lann (trumpet), Jannick Top (bass), Damien Schmitt (drums, percussion), Lionel Louéké (guitar, voice), Guests: Jean-Marie Ecay (guitar on 1 and 6), Olivier Hutman (keyboards out of 6), Fabien Colella (keyboards, computing), Bruno Ribera (sax, flute on 1 and 5), Christophe Nègre and Thomas Faure (sax on 1 and 5)

Le Lann Top

---

Lionel Loueke - The Journey

Styles: Vocal And Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 52:53
Size: 121,6 MB
Art: Front

(3:13)  1. Bouriyan
(3:54)  2. Molika
(3:57)  3. Bawo
(5:37)  4. Vi Gnin
(4:24)  5. Mande
(4:36)  6. Kaba
(2:18)  7. Dark Lightning
(3:18)  8. Vivi
(5:47)  9. Hope
(3:48) 10. Gbe
(4:05) 11. Gbedetemin
(0:29) 12. Guira
(2:33) 13. Okagbe
(2:26) 14. Reflections On Vi Gnin
(2:21) 15. The Healing

The Journey finds Benin's guitar prodigy Lionel Loueke in a stripped-back setting, often painting gentle sound-sketches using only his voice and a guitar. In place of his long-standing trio, comprised of drummer Ferenc Nemeth and double bassist Massimo Biolcati, Loueke has assembled a divers array of guest musicians for subtle accompaniment when needed. The fifteen songs compiled on this album exhibit some of the most versatile music the guitarist has created to date, and represent a sort of summary of his career- spanning works. The creator himself states "This album is a very personal project—it is the clearest reflection of the melodies and musical atmosphere that I carry within me every day." Besides the jumpy funk-infused opener "Bouriyan" and jam tracks like "Bawo," folkier elements are especially prominent. "Molika" or "Vi Gnin" display the extent to which Loueke has developed as a vocalist, and carry most fragile melodies into the open. While most compositions rely on various acoustic guitars, some of his signature electric guitar playing makes it on to the record as well, the loop-based "Dark Lightning" being a prime example. He also draws from his past catalogue and presents reinterpretations of "Okagbé" and "Gbede Temin," now written together "Gbêdetemin." Both songs were featured on the trio-recording Gilfema (ObliqSound, 2005) and have been stripped down to their very core elements, now presented at a much slower pace in a much more atmospheric fashion. The booklet translates what Loueke sings in the Benin native Fon and reveals lyrics that contemplate war, and question the world we live in. While dancing rhythms and celebratory chants, typical for Lionel Loueke, do find their way into this record, the more reflective side of things prevails and makes this endeavor one of a very profound and touching amplitude. The minimalist instrumental approach only adds to this intimate feeling and places the listener right by the source. If not in person, then this is probably the closest one might ever get to meeting Lionel Loueke. ~ Friedrich Kunzmann https://www.allaboutjazz.com/the-journey-lionel-loueke-aparte-review-by-friedrich-kunzmann.php

Personnel: Lionel Loueke: guitars, vocals, percussion; Pino Palladino: bass; Coro Baptista: percussion; John Ellis: soprano saxophone; Christi Joza Orisha: percussion; Robert Sadin: keyboards; Dramane Dembélé: peul flute; Mark Feldman: violin; Patrick Messina: clarinet; Vincent Ségal: cello; Étienne Charles: trumpet; Massimo Biolcati: bass; Ferenc Nemeth: percussion;

The Journey

---

Terence Blanchard - Bounce

Bitrate: MP3@320K/s
Time: 67:13
Size: 153.9 MB
Styles: Trumpet jazz
Year: 2003
Art: Front

[8:40] 1. On The Verge
[6:29] 2. Passionate Courage
[7:40] 3. Fred Brown
[7:31] 4. Nocturna
[6:00] 5. Azania
[7:28] 6. Footprints
[8:56] 7. Transform
[7:20] 8. Innocence
[7:05] 9. Bounce Let's Go Off

Bass – Brandon Owens; Drums – Eric Harland; Electric Piano – Robert Glasper (tracks: 2 to 6, 8); Guitar – Lionel Loueke (tracks: 1 to 8); Piano – Aaron Parks (tracks: 1, 2, 4 to 8); Soprano Saxophone – Brice Winston (tracks: 1 to 3, 5 to 8); Trumpet – Terence Blanchard.

Although he’s spent much of the past 15 years scoring films for Spike Lee and others, trumpeter Terence Blanchard certainly hasn’t forgotten about jazz, as his impressive Blue Note debut makes clear. Bounce finds the former Jazz Messenger having grown well past his early days as part of the “young lions” phenomenon of the ‘80s into a mature, individual artist exploring a wide palette of jazz colors. Like the best jazz artists working today, Blanchard has an awareness of the music’s past and present and openness to influences outside the jazz world (at least, that is, to those who would offer a narrow definition of all that jazz encompasses). Along with a band of talented young stars in the making (Aaron Parks on piano, Brandon Owens on bass, Eric Harland on drums, Lionel Louke on guitar and Brice Winston on saxophone), Blanchard deftly blends neo bebop and Latin grooves, New Orleans funk and African rhythms into a cohesive, expressive, contemporary whole.

Among Blanchard’s impressive original compositions, his “Azania” digs deep into Afro-Caribbean traditions, including a wordless chant from Louke, while the title tune (which is paired with former partner Donald Harrison’s “Let’s Go Off”) is flavored with the down-home gumbo of his (and most of the band’s) Crescent City home. Blanchard even delves into free form funk, with the addition of Robert Glasper on Fender Rhodes, on the fiery original “Fred Brown” and on an edgy reworking of Wayne Shorter’s “Footprints.”

A generous leader and mentor, Blanchard gives plenty of room for band members to express themselves with extended solos, and in the case of Parks, Harland and Owens, with notable originals of their own. While never hogging the spotlight, Blanchard is an adroit soloist himself, always in full command of his instrument whether playing fast and furious runs or moody ballads. With Bounce, Blanchard proves himself a jazz artist very much of the moment and a jazz man for all seasons. ~Joel Roberts

Bounce mc
Bounce zippy

---

Charlie Haden with Gonzalo Rubalcaba - Land of the Sun

Styles: Post Bop, Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 63:14
Size: 144,9 MB
Art: Front

(6:17)  1. Fuiste Tu (It Was You)
(5:08)  2. Sueno Solo COn Tu Amor (I Only Dream of Your Love)
(7:00)  3. Cancion De Cuna a Patricia (Lullaby for Patricia)
(8:06)  4. Solamente Una Vez (You Belong to My Heart))
(5:41)  5. Nostalgia
(7:07)  6. De Siempre (Forever)
(3:21)  7. Anoranza (Longing)
(4:49)  8. Cuando Te Podre Olvidar (When Will I Forget You)
(6:42)  9. Esta Tarde Vi Llover (Yesterday I Heard the Rain)
(8:58) 10. Cancion a Paola (Paola's Song)

It should come as no surprise that Land of the Sun, a collection of Mexican ballads written by three of Mexico's most prominent modern composers, is yet another chapter in Charlie Haden's continually unfolding musical biography. Haden was given a folder of songs by the late and legendary Mexican composer José Sabre Marroquín by his daughter as a thank you for his recording of "Nocturnal." Haden went over the tunes and decided to record some of them; he turned them over to pianist Gonzalo Rubalcaba for arranging, employed a stellar band, and Land of the Sun is the end result. What a result. There are eight compositions by Marroquín and one each by Augustín Lara and Armando Manzanero, in their own right prolific and revered songwriters who have been recorded in this country by Presley, Sinatra, and Bennett, to name a few. The band assembled for this project is stellar Joe Lovano, Ignacio Berroa, Rubalcaba, Miguel Zenón, Oriente Lopez, Larry Koonse, Lionel Loueke, Michael Rodriguez, and Juan De La Cruz. Rubalcaba's charts don't transform the songs into jazz tunes, but rather become an entryway for melodic improvisation, rhythmic invention, and group interplay. Rubalcaba's front-line interaction with Lovano, Zenón, and Rodriguez especially on "De Siempre" is emotionally honest and musically inspiring. "Nostalgia," introduced by Spanish guitar, percussion, and piano, is a wonderful springlike bittersweet melody wrapped in a languid rhythm and made poignant first by Rodriguez, and then Zenón, before the guitars waft back in. Lara's "Solamenta una Vez" is arranged for trio here. Rubalcaba's solo, with its shifting ostinati and alternating chordal and single-note runs, is breathtaking. Lovano's lyricism on "Esta Tarde Vi Llover," by Manzanero, is played in his best Ben Webster. With skittering brush work by Berroa, Lovano accents the tune's similarities to "A Kiss Is Just a Kiss" before turning it over to Rubalcaba, who extrapolates the harmony and opens it up against De La Cruz's bongos. Land of the Sun is a deeply romantic album, but it is lush without artificial ornamentation or affectation. Musically, its refinement is such that it begs critical as well as casual listening. Hopefully this won't be the last such exercise from Haden and Rubalcaba, but an introduction.~ Thom Jurek https://www.allmusic.com/album/land-of-the-sun-mw0000637062  

Personnel:  Charlie Haden – bass;  Gonzalo Rubalcaba – piano;  Ignacio Berroa – drums;  Joe Lovano – tenor saxophone;  Miguel Zenon – alto saxophone;  Michael Rodriquez – trumpet, flugelhorn;  Oriente Lopez – flute;  Larry Koonse – guitar;  Lionel Loueke – guitar;  Juan De La Cruz – percussion

Land of the Sun

---

Somi - Red Soil In My Eyes

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 62:11
Size: 142,5 MB
Art: Front

( 3:56)  1. Ingele
( 5:02)  2. My Mother's Daughter
( 3:46)  3. Day By Day
( 5:56)  4. Circles
( 7:25)  5. Red Soil In My Eyes
( 4:15)  6. African Lady
( 5:53)  7. Quietly
( 5:43)  8. Losing You
( 5:12)  9. Mbabazi
(14:58) 10. Natural

She was born in Illinois and did most of her growing up in America, but the singer who calls herself Somi that's short for L. Kabasomi Kakoma is the daughter of Rwandan and Ugandan parents, also spent time living in Africa and, due in no small part to the extremes of that experience, has created a seamless merger of cultures, sounds and emotions with this richly textured recording. Red Soil in My Eyes is all elegance and awe, and attempting to reduce Somi's pan-globalism and command of her artistic environment to a single genre or purpose would be a fruitless endeavor. She skates easily between worlds, touching on both smooth and raucous neo-soul, nuanced jazz expression and more than a dollop of East African tradition until something else all together emerges. She sings of nature and of love, life, freedom and faith without forcing distinctions between them. And one gets the impression that she arrives at that juncture effortlessly: many layers unfold throughout these multilingual, genre-busting, continually revealing songs, but the voice itself, wherever it may head, never lets go of its grip. 

"Ingele," the Swahili-sung opening track (a finalist in the world music category of the John Lennon Songwriting Contest), introduces the subtle, sultry side of Somi via a quasi-bossa nova rhythm that ultimately transforms into a platform through which her multi-octave voice dips and flies in several directions. "African Lady," on the other hand, is all rhythm, Fela style (the chorus is based on his "Lady"), delivering a strong anti-domestic violence message sung mainly in English along with its feast of percussion. Somi commands a sizable, virtuosic band throughout much of the album, but ends it on a quiet and poignant note: the hidden bonus track "Remembrance," which she dedicates to the survivors of the Rwandan genocide of 1994. On it, Somi's voice takes on otherworldly characteristics as it rides pure waves of sound, hauntingly reverent, intense and utterly captivating. ~ Jeff Tamarkin http://www.allmusic.com/album/red-soil-in-my-eyes-mw0000583545

Personnel: Somi (Lead Vocals, Backing Vocals), Hervé Samb, Lionel Loueke (guitar); Conrad Harris, Pauline Kim (violin); Dave Eggar (cello); David Lee Jones (saxophone); Jeremy Pelt (trumpet); Toru Dodo (piano); Thierry Arpino (drums); Daniel Moreno (percussion); Rhian Ayanna, Chanda Rule (background vocals).

Red Soil In My Eyes

---

Daniel Freedman - Imagine That

Styles:  Jazz, Bop
Year: 2016
File: MP3@320K/s
Time: 49:21
Size: 113,8 MB
Art: Front

(5:28)  1. Determined Soul
(6:02)  2. Baby Aya
(4:46)  3. Big in Yemen
(5:07)  4. Codex
(7:08)  5. Mindaho
(5:26)  6. Love Takes Time
(6:31)  7. Eastern Elegy
(8:49)  8. The Sisters Dance

Few can match drummer Daniel Freedman when it comes to pan-stylistic jazz presentations that cut across cultural lines. This lifelong New Yorker has found a way to bridge sonic worlds, erase boundary lines, and merge various musical languages in masterful fashion in his own work and in support of others. It's no wonder why the best of the best the one and only Sting, West African superstar Angelique Kidjo, and Israeli clarinet queen Anat Cohen, to mention three have called on Freedman. He isn't nearly as well-known as he should be at this point, due in no small part to the fact that his sideman duties take up much of his time, but with each successive release under his own name he furthers his reputation as one of the most open-minded drummer-leaders on record.  Imagine That, Freedman's third album, is a logical next step given what appeared on its predecessor Bamako By Bus (Anzic Records, 2012). It's a global feast for the senses built by one of the most intriguing multicultural units assembled in recent times. What emerges, with Brooklynite Jason Lindner manning the keys, Benin-born sensation Lionel Loueke on guitar, Israeli Omer Avital holding things down on bass, and Brazilian percussionist Gilmar Gomes adding rhythmic spice to the mix, is a beyond-category hybridized form of music. Pan-African presentations, Carnatic ideals, Middle Eastern sounds, blues-tinged suggestions, modern jazz tides, and more all come into the picture at one time or another. The grooves are deep, the harmonies are intriguing, and the end result is something that's both smart and stirring.

This band gets down on the dance floor right out of the gate with Lindner's "Determined Soul," a piece with pseudo-Afrobeat undercurrents and Indian inflections. It's the first of many rhythmically rousing numbers on the bill, and each one relies on different source material and stylized directions. There's Freedman's "Baby Aya," a cradle song that morphs into a celebration and features Loueke and Kidjo, making her lone guest appearance, on vocals; "Big In Yemen," built on a "Yemeni/Bahia hybrid" groove cooked up by Freedman and Gomes; Loueke's "Mindaho," a hypnotic, slow-building roamer that features some of the guitarist's most entrancing playing on record; and the Gnawa-influenced "The Sisters Dance," uplifted by inspired contributions from Gomes and some fiery, barbed guitar work from Loueke. In other places, Freedman and company prove to be just as engaging without putting such a premium on rhythmic dialogue. Radiohead's "Codex," for example, moves from a cinematic space to a pure rock environment. Then there's "Love Takes Time," an undiluted soul experience, and "Eastern Elegy," a universal threnody of a sort that tugs at the heartstrings and features some incredibly moving bass work from Avital. With the eight numbers presented here, Daniel Freedman manages to prove that seemingly dissimilar musics, much like people, can prove to be completely compatible. Imagine that. ~ Dan Bilawsky https://www.allaboutjazz.com/imagine-that-daniel-freedman-anzic-records-review-by-dan-bilawsky.php

Personnel: Lionel Loueke: guitar, vocals; Jason Lindner: piano, keyboards; Omer Avital: bass, oud (3); Gilmar Gomes: percussion; Daniel Freedman: drums; Angélique Kidjo: vocals (2).

Imagine That

---

Daniel Freedman - Bamako By Bus

Styles: Jazz, Bop
Year: 2012
File: MP3@320K/s
Time: 53:38
Size: 123,8 MB
Art: Front

(1:53)  1. Odudua featuring Abraham Rodriguez
(6:23)  2. Elegba Wa featuring Lionel Loueke
(5:55)  3. Deep Brooklyn
(5:15)  4. Rumba Pa' NYC featuring Abraham Rodriguez and Pedro Martinez
(5:40)  5. Alona featuring Mark Turner
(9:00)  6. All Brothers featuring Lionel Loueke
(6:40)  7. Darfur/Oasis featuring Joshua Levitt
(6:43)  8. Sa'aba featuring Mark Turner and Avishai Cohen
(6:05)  9. Bamako By Bus featuring Lionel Loueke

The sophomore release for drummer Daniel Freedman could simply be retitled Passion and not be too far off the mark. To be this comfortable with who you are and where you are going is a gift but to pull off the same passion as an artist is a thing of rare beauty. Freedman is a first call world class percussionist having been heard on recorded works with such luminaries as Sting, Tom Harrell and Youssou N' Dour. Bamako By Bus is a stunning release as it fuses a myriad of influences that range from jazz to African, Cuban, funk and pop and the end result is a stunning new land of sonic texture and feeling. Welcome to the land of rhythm and groove! A highly personal recording of a musicians inner vision of where another journey may well start but the end is not specifically laid out but left up to the listener and Freedman. Bamako By Bus is also meant to confirm that New York City is indeed the mecca of the jazz universe with musicians coming together from all over the world to pool their collective talents.

Music was specifically written with certain players in mind but there is united core of Meshell Ndegeocello on bass, the incredible Avishai Cohen on trumpet, Jason Linder on keyboards and of course Daniel Freedman handling the duties behind the kit. There are virtually too many highlights to list in their entirety including the most under rated saxophonist on the planet Mark Turner and his musical union with the haunting and gorgeous ballad "Alona." Perhaps a personal favorite would be the sonic fire power of Ndegeocello and Linder taking funk to the next level while Avishai Cohen lays down a jaw dropping solo showcasing his ability not to simply blow but play with lyrical purpose and direction as do all participants here. Rumba Pa' NYC is old school, music celebrating the time that culture filled the streets and the air with the rhythmic intoxication that is Cuban music. The wide range of influence from global sources is staggering. Yoruba Afro-Cuban prayer chant, mixed with a subtle splash of Regga; rumba; Afro-Moroccan Gnawa music merged with Brazilian grooves; and the West African Malian tones that balance the title track. The title track as much of the release itself, inspired by an arduous 30 hour bus trip the young Freedman took in Mali. Freedman's musical adventures have taken his prolific talents to West Africa, The Middle East and Cuba.Texture, timbre and tone but from the other musicians are the emphasis on this stunning release. Freedman does what the premier drummers do, he pushes the music to center stage and lets the ensemble play out while not remaining comfortable but owning the pocket. Phrasing, dynamics and harmonic placement are done with the ensemble in mind. At no time does Bamako By Bus become a self indulgent percussive bash fest any more than Feldman being something other than a human metronome.
A stellar work. One of the best releases for 2012. 5 Stars! http://www.criticaljazz.com/2012/04/daniel-freedman-bamako-by-bus-anzic.html

Personnel: 
Avishai Cohen – trumpet, Lionel Loueke – guitar and vocals, Jason Lindner – keyboards, Meshell Ndegeocello – bass, Omer Avital – acoustic bass (track 7), Daniel Freedman – drums, percussion, Pedrito Martinez, Abraham Rodriguez – vocals and percussion, Mark Turner – tenor saxophone.                                                                         

Bamako By Bus

---

Avishai Cohen - After The Big Rain

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 59:07
Size: 135,4 MB
Art: Front

( 6:15)  1. After the Big Rain
(11:48)  2. Parto Forte
( 4:38)  3. Gbede Temin
( 8:16)  4. Meditation on Two Chords
( 7:19)  5. Afterthoughts (Mozartine)
( 3:44)  6. Miryama
(11:04)  7. African Daisy (La Suite African)
( 6:00)  8. After the Big Rain (Epilogue)

Trumpeter Avishai Cohen has had a varied musical career. He toured with the Young Israeli Philharmonic Orchestra and then went into a wider spectrum playing jazz, pop and rock. However, it was when he was at Smalls jazz club in New York, that he had the opportunity to interact and expand his musical horizons with Jason Lindner, Claudia Acuna and Omer Avital. Cohen carries his wide-ranging vision with effect into After The Big Rain. The title tune sandwiches the selections, the last being an "Epilogue. The first has an underlying power brought to the front by singer Lionel Loueke, his voice a worthy minstrel. Although the words are in Fon, the language of Benin, West Africa; the listener is drawn into the emotional vortex that Loueke creates. Cohen brings in a seductive tensile quality, letting the lines of his trumpet inveigle their way into the melody before he sprays the mellowness with a welter of notes to break up the linear movement. The epilogue shines from the interaction that takes place. Cohen, Daniel Freedman (percussion), Loueke (guitar), and Yosavany Terry ( chekere) stimulate an effervescent air. Add Loueke's vocals, both sung and spoken, and the tune stamps its undeniable class.

The fermenting tide of "Parto Forte is a melting pot from which emerge African rhythm, jazz harmony, free movement, and a dollop of funk. The shift comes in gradually, the chekere and the vocals sashaying in before Cohen shapes it with a structured melody. His jazz instincts serve the tune well and bring it to the forefront. The rhythm bed stirs headily as Cohen continues to recharge the melody with intense phrases that jump and probe. Jason Lindner (keyboards and Fender Rhodes) uncoils light and slowly, his lope to the Rhodes unlocking a percolating swizzle of notes. Cohen then funks in as he filters his trumpet through electronic effects. This CD is the first in a trilogy. Before The Big Rain and The Big Rain: Birth of the World are set to follow. On the evidence here, the wait is salivating. ~ Jerry D’Souza https://www.allaboutjazz.com/after-the-big-rain-avishai-cohen-trumpet-anzic-records-review-by-jerry-dsouza.php

Personnel:  Avishai Cohen: trumpet & FXs;  Lionel Loueke: guitar & vocals;  Jason Lindner: keyboards and Fender Rhodes;  Omer Avital: acoustic bass;  Daniel Freedman: drums and percussion;  Yosvany Terry: chekere (1, 2, 7, 8).

After The Big Rain

---

Herbie Hancock - Then and Now - The Definitive Herbie Hanckock

Styles: Piano Jazz, Jazz Fusion
Year: 2008
File: MP3@320K/s
Time: 78:03
Size: 179,1 MB
Art: Front

(7:54)  1. Maiden Voyage
(5:27)  2. Cantaloupe Island
(5:50)  3. Wiggle Waggle-
(7:40)  4. Chameleon (Edit)
(5:52)  5. St. Louis Blues
(4:16)  6. Chan's Song (Never Said)
(5:26)  7. River
(4:52)  8. Don't Explain
(5:07)  9. All Apologies
(6:28) 10. Watermelon Man
(4:10) 11. Rockit (Live)
(5:39) 12. River (Live)
(9:15) 13. Maiden Voyage (Live)

The idea of collecting tracks off several of jazz legend Herbie Hancock's albums from the influential '60s Blue Note years through to his Grammy-winning 2007 album River is a nice idea that doesn't quite come together on Verve's Then and Now: The Definitive Herbie Hancock. Obviously designed to showcase the whole of Hancock's career post his 2007 Grammy win for River: The Joni Letters, Then and Now doesn't really give you the full picture. With only five tracks devoted to his '60s/'70s recordings (arguably his most essential and defining period), there's just not enough "then" here to really qualify this as a "definitive" collection. Not to mention that Then and Now basically ignores Hancock's '70s recordings, opting for merely an "edit" of "Chameleon" and the album version of "Watermelon Man," which comes out of chronological order near the end of the collection. Add in that you only get a live version of "Rockit" and you're left with less a definitive view of Hancock's career and more of a thumbnail sketch. ~ Matt Collar  http://www.allmusic.com/album/then-and-now-the-definitive-herbie-hancock-mw0000798281

Personnel: Herbie Hancock (piano, Fender Rhodes piano, Clavinet, ARP synthesizer); Stevie Wonder (vocals, harmonica); Damien Rice, Joni Mitchell, Lisa Hannigan (vocals); Eric Gale, Billy Butler , Lionel Loueke (guitar); John Scofield (electric sitar); Vyvienne Long (cello); Bennie Maupin (alto flute, bass clarinet, soprano saxophone, saxello, tenor saxophone); Joe Henderson (alto flute, tenor saxophone); Wayne Shorter (soprano saxophone, tenor saxophone); Bob Sheppard (soprano saxophone); George Coleman (tenor saxophone); Arthur Clarke (baritone saxophone); Eddie Henderson, Ernie Royal, Freddie Hubbard, Joe Newman, Johnny Coles (trumpet); Ray Alonge (French horn); Garnett Brown, Benny Powell (trombone); Paul Jackson (marimbula, bass instrument); Dave Holland, Jerry Jemmott, Marcus Miller, Ron Carter, Shane Fitzsimons, Alex Al (bass instrument); Harvey Mason, Terri Lyne Carrington, Tomo, Tony Williams, Vinnie Colaiuta, Bernard Purdie (drums); George Devens, Bill Summers (percussion);

Then and Now The Definitive Herbie Hanckock

---

Lionel Loueke - Gaïa

Bitrate: MP3@320K/s
Time: 55:29
Size: 127.0 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[2:43] 1. Broken
[5:49] 2. Sleepless Night
[4:30] 3. Sources Of Love
[3:40] 4. Wacko Loco
[5:16] 5. Aziza Dance
[4:28] 6. Rain Wash
[7:04] 7. Forgiveness
[4:00] 8. Even Teens
[3:46] 9. Gaia
[6:30] 10. Veuve Malienee
[3:18] 11. Procession
[4:20] 12. How Deep Is Your Love

Lionel Loueke: electric guitar; Massimo Biolcati: bass; Ferenc Nemeth: drums.

Guitarist Lionel Loueke brings a presence to jazz unlike any other due in part to his West African upbringing heard in the uniqueness of his playing, vocals and phrasing which have enriched recordings from trumpeter Terence Blanchard to singers Angelique Kidjo and Luciana Souza. Recorded live in front of a small audience Gaïa finds Loueke with longtime trio-mates bassist Massimo Biolcati and drummer Ferenc Nemeth in an intimate session that captures his musicality and spontaneity. While the audio is not as refined as studio recordings Gilfema (ObliqSound, 2005) or Karibu (Blue Note, 2008), the recording harnesses the trio's artistic energy for an altogether rewarding experience. Things being wildly with "Broken" as Loueke's solos feverishly with gnarly sound effect as the rhythm section powers through the raucous tempo. While Loueke's signature blend of African flavors and jazz is intact, there's a definite rock music influence heard in "Sleepless Nights" and the scorched earth "Wacko Loco" as the trio rips through the killer riff. But as usual, it's not easy to pigeonhole Loueke's music. There are melodious yet odd metered changes that travel from get-down funkiness in "Aziza Dance" to breezy atmospherics in "Source of Love." The music's playground includes an using an array of sound effects that range from grimy overdrive to silky synth keyboard-like emulations in "Veuve Malienne" enriched by Loueke's emotive African fingerpicking that flourishes in the tune "Forgiveness."

Gaïa 's meaning is a nod to Mother Earth, the music shedding light about the impact of humans on the planet. Add some funky string slap techniques, electronic touches, and psychedelia ("Eventeens"); gut-bucket rock blues ("Procession") and end things with a jamming West Africanized cover of the Bee Gees "How Deep Is Your Love" and this is one of Loueke's most memorable releases. ~Marc Turner

Gaia

---

Lionel Loueke - In a Trance

Styles: Vocal And Guitar, Latin Jazz
Year: 2007
File: MP3@320K/s
Time: 51:28
Size: 118,2 MB
Art: Front

(4:23)  1. A Prayer for Peace
(0:51)  2. Benny's Tune
(4:07)  3. In a Trance
(5:45)  4. Mivakpola
(2:46)  5. Gbeto
(4:58)  6. Fifa
(1:25)  7. Nagbe
(4:45)  8. Okagbe
(7:04)  9. Be-Nin-Bop
(3:44) 10. Boum Boum!!!
(6:07) 11. Always Will Be
(5:27) 12. Nonvignon

When Benin-born guitarist/vocalist Lionel Loueke appeared at this summer's Ottawa International Jazz Festival, he was a real highlight amongst the entire group of stellar young players in trumpeter Terence Blanchard's band. His solo spot, where he used looping and harmonizing devices to create a veritable mini-orchestra with just one voice and guitar, illustrated how technology can be used to create something natural. Jazz Luddites regularly rail against the use of electronics to tarnish the "pure nature of jazz, but Loueke clearly doesn't subscribe to such a narrow view. Technology is only as good as the hands it's in, and an increasing number of artists are finding ways to utilize it to stretch the shape of jazz. Loueke came relatively late to the guitar. After mastering indigenous percussion instruments in Benin, he picked up guitar at the age of seventeen and, in the ensuing fifteen years, has amassed a wide breadth of formal education at institutions including Paris' American School of Modern Music and Boston's Berklee School of Music. In the past three years Loueke has recorded and performed with significant artists including Herbie Hancock, Charlie Haden and, of course, Blanchard who has used Loueke increasingly since the release of Bounce (Blue Note, 2003). 

Loueke's solo debut, In a Trance, demonstrates in no uncertain terms why these artists are clamouring to work with him. Playing acoustic guitar almost exclusively even more specifically, the nylon-stringed variety Loueke combines the folk music of his birthplace and other locales with a rich harmonic language that may not be jazz by a reductionist definition, but is by any contemporary standard. If there's any frame of reference for Loueke, it's Egberto Gismonti. Like Gismonti, Loueke's enthic roots are clear, but while "Nonvignon has an unmistakable highlife groove, Loueke's guitar lines insidiously incorporate more outside-the-box thinking. "Benny's Tune stems from the same raw Brazilian tradition that Gismonti has explored for decades more Amazon rainforest than Rio de Janeiro. The most remarkable thing about In a Trance is its live nature, with no overdubs. Loueke's organic use of looping technology transforms one voice and one guitar into something much bigger. He transforms his guitar into a percussion instrument, creating rhythm loops by slapping it and using his fingers on it as if it were a drum. That's not particularly new, but the percussive intro to "Mivakpola demonstrates just how much farther Loueke takes his instrument.

Loueke's writing ranges from the darkly lyrical "Fifa to the melancholy solo electric lament "Always Will Be, the blues-inflected "Boum-Boum!!! and the brief, rhythm-driven "Nagbe, where he builds a virtual chorus of vocals in real time. Intimate and revealing of a mind that views stylistic barriers as artifices to be dissolved, In a Trance demonstrates in the most musical way just how seamlessly technology can integrated. Loueke may have but one voice and one instrument, but in their surprising variety and orchestration, he makes clear why he's become so widely in demand in such a short period of time. 

~ John Kelman  http://www.allaboutjazz.com/in-a-trance-lionel-loueke-self-produced-review-by-john-kelman.php

Personnel: Lionel Loueke: guitars, vocals.

In a Trance

---

Lionel Loueke - Gaia

Size: 128,8 MB
Time: 55:28
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Jazz Rock
Art: Front

01. Broken (2:44)
02. Sleepless Night (5:49)
03. Sources Of Love (4:29)
04. Wacko Loco (3:40)
05. Aziza Dance (5:16)
06. Rain Wash (4:28)
07. Forgiveness (7:04)
08. Even Teens (4:00)
09. Gaia (3:45)
10. Veuve Malienee (6:30)
11. Procession (3:18)
12. How Deep Is Your Love (4:20)

Gaïa finds West African guitarist Lionel Loueke reunited with his longstanding trio of bassist Massimo Biolcati and drummer Ferenc Nemeth for the first time since 2010's Mwaliko. It was produced by Blue Note label boss Don Was and cut live in the studio — sans overdubs — in front of a small invited audience. The sonics are a tad more brittle, but they add to the crackling energy on offer. First single "Aziza Dance" is funky as hell; the guitarist vamps up a storm and Nemeth drops a ton of breaks amid snare-driven syncopation. Biolcati follows the knotty melody while dropping tough grooves into his fills. "Broken" is one of several tracks where Loueke employs an array of digital effects — here he simultaneously evokes a blues harmonica and an analog synth. The almost fusion-like track is full of quick stops and starts, unusual cadences, and dissonant angles with dazzling fretwork by the guitarist. In "Veuve Malienne," those effects take on a different hue. In a breezy, late-night funk number, Loueke's guitar sounds like a melodica. When paired with the deep, woody tone of Biolcati's melodic bassline, the sound is elegant, silky. But Nemeth offers a chunky, taut swing in the pocket to maintain an edge. Loueke shows his affinity for rock here too, in the hard-vamping, crescendo-laden choruses on "Sleepless Night," the aggressive riffing in "Wacko Loco," and the spiky blues jamming in "Procession." In the title track, the guitarist shines with finger-popping arpeggios and gritty chord voicings. Nemeth's skittering snare and hi-hat breaks ride atop a taut, bumping bassline to create funky jazz at its best. The intro to "Eventeens" showcases Loueke's athleticism on the strings. He employs his pedals and switches, but it's his finger-slapping technique that impresses most. The set closer is an unlikely — yet lovely — cover of the Bee Gees' "How Deep Is Your Love." Played through the prism of Beninese pop and the harmonic invention of jazz, it's far from a lightweight finish, even if it is a graceful one. These trio members need no collaborators, extra production, or overdubs; they can — and do — deliver almost endless variations on all the stylistic genres they choose. The kinetic energy and obvious delight expressed by these players in such intimate and idea-rich conversation make Gaïa Loueke's most satisfying release to date.

Gaia

---

Lionel Loueke - Heritage

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 61:04
Size: 142,2 MB
Art: Front

(7:37)  1. Ifê
(6:23)  2. Ouidah
(7:14)  3. Tribal Dance
(7:33)  4. Hope
(4:40)  5. Freedom Dance
(6:12)  6. Chardon
(5:29)  7. Farafina
(2:47)  8. African Ship
(3:42)  9. Goree
(9:24) 10. Bayyinah

On Heritage, Benin-born Lionel Loueke takes a more electric approach than on previous releases, which mostly featured his acoustic, nylon-string guitar. This change is immediately felt on the opening "Ifê," beginning with the muted notes of an acoustic steel-stringed guitar whose sound resembles a kalimba (thumb piano). Loueke is backed solely by his trio (rounded out by bassist Derrick Hodge and drummer Mark Guiliana) here, and plays a dexterous solo with the help of a pitch bender pedal. Co-producer and pianist Robert Glasper joins him on various tunes, but the gentle "Hope" (co-written by Glasper and Loueke) is the first to stand out thanks to its simple structure that gives much opportunity for free improvisation. The wordless vocal duet between Loueke and Gretchen Parlato gives the tune a dream-like feel. Glasper's "Tribal Dance" has all of the pianist's trademarks, but also gives a lot of freedom for the musicians to improvise around the melody, while Loueke's highly syncopated "Farafina" has a more intricate structure that also gives much space for moments of brilliance from the bandleader and his trio.

Another notable track is "African Ship," a short syncopated tune that features Glasper's intricate piano grooves. Loueke adds various vocal effects as the pianist improvises freely around the melody. The chemistry between the two musicians is quite evident, and that can also be said about the other participants on the disc, especially on Glasper's "Bayyinah," featuring individual moments from all four band members and closing the disc with the same excitement as the first track. Loueke and Glasper are among a handful of new voices bringing fresh sounds to contemporary jazz, and helping usher a whole new audience to the genre thanks to their creativity, technique and eagerness to break new ground. Heritage is a great example of this fresh new approach. ~ Ernest Barteldes  http://www.allaboutjazz.com/heritage-lionel-loueke-blue-note-records-review-by-ernest-barteldes.php

Personnel: Lionel Loueke: acoustic and electric guitar; Robert Glasper: piano, Fender Rhodes; Derrick Hodge: electric bass; Mark Guiliana: drums; Gretchen Parlato: voice (3, 4).

Heritage

---