Bass CDs
Debut Album: Afro-Andean Funk, The Sacred Leaf
The Sacred Leaf Traces Shamanism, Indigenous Peruvian Culture, & Human Rights alongside the powerful, healing Coca Leaf…
The coca leaf is a sacred plant of the Andes with many healing powers revered for thousands of years in Andean culture. Often chewed while doing agricultural activities, the coca leaf has an important role in rituals where shamans make sacred requests to the leaf.
NEW YORK, NY – Latin Grammy® nominated Peruvian singer and producer Araceli Poma and bassist, composer, producer Matt Geraghty have just released (May 31, 2022) their debut album, The Sacred Leaf featuring their new band Afro-Andean Funk. Poma and Geraghty were nominated for a Latin Grammy® in 2020 in the best Long Form Music Video category.
Araceli Poma met Geraghty in a recording studio in Lima, Peru in 2019 while she was invited to be part of a documentary and album called ‘The Warrior Women of Afro-Peruvian Music.’Geraghty brought this music travel series to Peru to highlight emerging artists and discover hidden cultural treasures in the Americas. With a focus on Afro-Peruvian women artists, Geraghty and team invited nine distinguished singers and percussionists to be part of this historic all women recording and documentary.
This serendipitous encounter between Geraghty and Poma would start a creative partnership leading to teaming up on a documentary in Puerto Rico and beginning to write new music together.
From that moment on, the two began to join forces to break cultural barriers and after two years of collaborating together and receiving a Latin Grammy® Nomination, a new band was born: Afro-Andean Funk, which made its debut in New York City in 2021.
Poma’s unique talent as a singer is equally matched by her talent as a producer. This is exemplified by Poma’s relentless work to bring Peruvian music to the world, documenting the legacies of the masters and creating platforms for women artists to share their stories and their struggles against racism and marginalization.
Poma now takes a creative leap forward with Afro-Andean Funk and the result is a fresh new sound, blending roots music of the Andes and the Afro-Peruvian scene with electronica, funk and rock, alongside West African grooves.
“I am proud of my roots and I want Peruvian music to reach the whole world with our new sound,” exclaims Poma. “We are inspired as much by artists such as Susana Baca, Victoria Santa Cruz, David Byrne and Caetano Veloso as well as by Thom Yorke, Empire of the Sun, Herbie Hancock and James Brown.”
“We don’t see any limits stylistically to our music so I think The Sacred Leaf is a reflection of that,” comments Geraghty.
Afro-Andean Funk’s first release, The Sacred Leaf, presents 9 original songs with Araceli Poma singing in Spanish as well as in the ancient Incan language known as Quechua–thus paying homage to her Andean and Afro-Peruvian roots.
Poma continues her work of bringing visibility to the painful stories of women in the Americas with the first single track “Luchadora del Ande” (Woman Fighter of the Andes). Poma composed this piece to specifically give a powerful voice to thousands of indigenous women who were victims of the Peruvian government between 1996 and 2001, when mass sterilizations were carried out against their will!
“We wrote ‘Luchadora del Ande’ inspired by these women who have been fighting for justice for years,” says the singer. “This song features ‘spoken word’ by one of the victims, Victoria Vigo, who speaks to the solidarity with other survivors and raises the voices of these women to let the world know they will not remain silent.”
The nine original tracks on The Sacred Leaf, composed by Geraghty and Poma, reflect the duo’s deep love for music from a variety of styles and places. Their music expressively mingles a broad spectrum of traditional and modern musical styles such as Afro-pop, Huayno (a popular form of Andean music and dance), electronica, drum and bass, funk, Cumbia (a folkloric music and dance that originated in Colombia) as well as hard rock. Lyrics on the album span across different languages like Spanish, Quechua, Haitian-Creole and English as well.
Best known for his cross-cultural and inclusive music collaborations, Geraghty has woven these many styles alongside Poma’s lyrical approach cohesively in the nine eclectic compositions. The songs are driven by his prominent melodic electric bass playing along with his own supporting background vocals on several tracks.
“I admire the stories, music and cultures of all the many artists I have been fortunate to work with. We also know that music has the power to spotlight issues that need more attention – especially relating to marginalized peoples and cultures. That is why we have several compositions featuring Quechua in our music. It’s a language that is disappearing and it’s important to preserve these traditions,” says the Latin Grammy®-Nominated producer.
The second single from the album, ‘Agua del Olvido’ (Water to Forget), brings to life the ancestral stories of the jungle and the shamanic rituals that take place during Ayahuasca sessions in the Peruvian Amazon. And, the title track, ‘The Sacred Leaf’ pays tribute to healing powers of the coca leaf. That track also features the star Haitian singer and producer, Mannobeats.
“In addition, we worked closely with the well-known electronica artist Grod from Argentina in the development of key ambient sounds and electric beats as well as the incorporation of live percussion instruments from my Afro-Peruvian traditions such as the checho, the cajita, the donkey jaw bone and the Peruvian cajon,” says Araceli. “You’ll also hear the Andean stringed instrument known as the charango on several tracks. It has an important role on songs like ‘Luchadora del Ande,’ ‘Me Permito’ and ‘Tanto Tanto.’
The sum total of Afro-Andean Funk’s album is a music that is not only deeply reflective of its roots and history, but is a music that finds unity through a diversity of sounds, languages and stories — a catalyst for demystifying cultural differences and building bridges between musical communities.
The album was produced by bassist Matt Geraghty. All compositions were written by Matt Geraghty and Araceli Poma. Electronica arrangements are by Grod.
Visit online at afroandeanfunk.com
In an exciting announcement for Rush fans and rock enthusiasts alike, Anthem Records in Canada and Rhino Records will reissue the first-ever solo albums of Alex Lifeson and Geddy Lee. Lifeson’s 1996 album Victor and Lee’s 2000 offering My Favourite Headache will be re-released on August 9, 2024, in various formats, including a range of vinyl configurations.
My Favourite Headache, Geddy Lee’s only solo album to date, was initially released on November 14, 2000. This reissue marks its first vinyl pressing since a limited-edition Record Store Day exclusive in 2019. The fourth side of the album features two instrumental mixes. Produced by Lee, Ben Mink, and David Leonard, the album includes contributions from Mink and drummers Matt Cameron (Soundgarden/Pearl Jam) and Jeremy Taggart (Our Lady Peace).
Victor, originally released on January 9, 1996, marks Alex Lifeson’s solo debut. Lifeson took on the roles of songwriter, producer, and mixer for this album. For the first time, Victor will be available on vinyl, featuring a complete remix by Lifeson himself to enhance the audio quality. The fourth side of the album includes four instrumental tracks previously exclusive to Lifeson’s website. Guest artists include lead vocalist Edwin from I Mother Earth, Primus bassist Les Claypool, and Canadian powerhouse vocalist Lisa Dalbello. The 15-song collection is paired with striking 2024 reimagined artwork by Fantoons Animation Studios.
For more details on the Geddy Lee reissue and to preorder, https://lnk.to/MyFavouriteHeadache
For more details on the Alex Lifeson reissue and to preorder, https://lnk.to/AlexLifesonVictor
Acclaimed bassist and composer Ben Wolfe is thrilled to announce the August 9, 2024 release of The Understated.
This evocative new album features a collection of new original compositions by Wolfe paired, with re-imaginings of some of the composer’s classic material, with a particular emphasis on the ballad song-form. The album features ten tracks, five of which are ballads – a bold move for any composer – Wolfe creates a cohesive narrative here that challenges the listeners perception of the classic ballad. The Understated features Wolfe alongside artists who make up the very frontline of modern jazz, including pianist Orrin Evans, tenor saxophonist Nicole Glover, drummer Aaron Kimmel, guitarist Russell Malone and pianist Sullivan Fortner.
Wolfe has always been drawn to finding beauty in subtlety. He perceives a certain tranquility and elegance in the Coltrane Quartet, Louis Armstrong’s Hot Fives and Sevens, the legendary Miles Davis bands and rhythm sections, and the music of Charlie Parker. While he, of course, revels at the immense world-building energy of this music, it’s the “other side” – the elusive, magical aspect that endlessly captivates him – the understated. The composer draws inspiration most from the ensemble work of these hallmark jazz ensembles. Despite the individual parts being extraordinarily beautiful on their own, the musicians in these archetypal ensembles play only what is needed to serve the music, paying particular attention to the band-sound more-so than their individual sound. The Understated embodies this ethos with a tremendously impactful ensemble-oriented approach.
Wolfe sought to continue the thread started by “Lullaby in D” from his previous critically acclaimed release Unjust. Wolfe indicates, “Something about that take was so perfect to me. It had been brought to life, and it had that ensemble thing.” Wolfe assembled the quartet who recorded “Lullaby” (including longtime collaborator Orrin Evans, as well as recent frequent collaborators Aaron Kimmel and Nicole Glover) and two very special guests, Russell Malone and Sullivan Fortner. The recording process took place in one room with no headphones or isolation booths, further emphasizing the group’s collective awareness.
This record succeeds in bringing Wolfe’s expansive music to life through extremely conscientious group playing. Nothing is forced or pushed; everything that needs to be stated is stated. The single from the album, “Waltz,” encapsulates the spirit of the project. Wolfe says, “I view albums like a complete painting, so singles have been difficult for me. This song is very much in the spirit of the whole but doesn’t give away the record.” The piece features a sentimental melody delivered with grace by tenor saxophonist Nicole Glover, before Glover and Evans embark on stirring solos dancing in and out of the tune’s harmony.
Other new original compositions featured here include “Ballad in B”, which perhaps best demonstrates the group’s stunning cohesion. This tune is a refreshing diversion as it features a serene repeated melody without overt melodic improvisation. The following track, “Anagram”, begins with Kimmel’s rhythmic refrains and a unison melody played by Glover and Wolfe and is a true ensemble piece. On this track, Wolfe shines with a lyrical solo. The moody short interlude “So Indeed” is a lyrical masterwork that leaves the listener wanting even more. “Beautiful You” features master guitarist Russell Malone on the track’s melody. The emphasis here on restrained lyricism is a prime reminder of the old adage “it’s not the notes you play, it’s the notes you don’t play”. Each pocket of space in between melodic moments leaves room for the listener to breathe deeper and deeper into the song. The driving “Triangle Man” features fantastic improvisation from Glover and Kimmel. The tender “Barely Spoken” concludes the album with a feature for pianist Sullivan Fortner.
The album also weaves in references to Wolfe’s past works, creating a personal musical universe. “The Poet Speaks” is the opening track on his first record, 13 Sketches. “Occam’s Razor” was composed years ago for a collaboration with a choreographer and painter, and was a much different composition in its original form. “Love Is Near” was originally found on The Whisperer. With ballads in particular, Ben uses voicings and sounds that represent certain things to him, intentionally referencing his other compositions to generate connections between his songs.
Wolfe’s tremendous compositions on this album are also influenced by the group of musicians that he assembled for this release. Wolfe remarks “One of the things these five musicians share in common is that not only are they true ensemble players, they will always play something unexpected and special.” Listeners will find calm and beauty within the ensemble performances throughout The Understated.
Visit online at benwolfe.com/
Bassist, band leader, and composer Orlando le Fleming continues to make music that crosses genres as readily as he crosses the Atlantic, with this new album ‘Wandering Talk’, to be released physically on 23rd August via the UK’s premiere jazz label, Whirlwind Recordings.
After 20 years in New York City, he’s back in his native UK, forging new pathways and renewing old partnerships. His love for the acoustic tradition continues unabated alongside his deep affection for the robust, muscular electric fusion that emerged in the 1980s, and he has received critical acclaim from media including The Guardian, Financial Times, Jazzwise, and All About Jazz among others. He has also toured and recorded with some of the world’s greatest jazz musicians including Branford Marsalis, Kurt Rosenwinkel, Antonio Sanchez, Ari Hoenig, and Wayne Krantz.
The Romantic Funk project was born in New York’s legendary 55 Bar to explore that legacy: now the new album ‘Wandering Talk’ builds on the critical acclaim generated by ‘The Unfamiliar’ (2020), building on the framework with a set of collaborators that brings together London and New York, past and present, acoustic, and electric, and merges it all into a spectacular whole.
Following the same principles that served the project in NYC, le Fleming booked four Friday nights at London’s renowned Vortex Club to workshop the music that would become the album, with a rotating cast of players which he honed down into the final line-up. Old London friends Tom Cawley (piano/keys) and James Maddren (drums) completed the rhythm section. New acquaintance Nathaniel Facey was picked from the ranks of the UK’s brightest young saxophone players. NYC stalwart Philip Dizack flew in from the US to play trumpet and reaching back to Orlando’s school days and forward to his own family, one-time classmate Chris Martin (Coldplay) and his own daughter Nadia combined to provide vocals on a special setting of Rumi’s poetry.
As before, the music combines fusion’s flash and fire with a contemporary sensibility. This time, Orlando’s questing spirit sends his superb band forward to investigate fresh areas of creativity in dynamic and texture.
Visit online at orlandolefleming.com
Album: John Entwistle, Rarities Oxhumed – Volume Two
Rarities Oxhumed – Volume Two is the second of the series of posthumous releases coming from John Entwistle.
Rarities Oxhumed – Volume Two is a compilation that was curated by drummer Steve Luongo, who served as John Entwistle’s producer, bandmate, business partner and good friend for many years. As Luongo states, “When I agreed to do two volumes of John Entwistle rarities, I knew volume two had to be even better than volume one. It is!” The collection of songs on Volume Two are from his years with the John Entwistle Band and include re-mastered versions of studio tracks including “Endless Vacation”, alternate mixes of tracks like “Sometimes”, and live tracks including The Who cuts “Real Me”, “Long Live Rock” and an epic version of “Young Man Blues”. The latest preview track to be released is the Who cut “Had Enough.”
Listen to “Had Enough” here: push.fm/ps/hadenough
Rarities Oxhumed – Volume One was quickly embraced by longtime fans as it featured gems like “Bogey Man” featuring Keith Moon, “Where You Going Now” (demo for the Who), and a raw live version of “Trick of the Light” recorded during the John Entwistle Band’s final tour in 2001. Deko Entertainment is thrilled to have been able to bring both volumes of this unearthed music of John Entwistle to the fans and forever solidify him as one of the greatest rock musicians ever.
For more information, visit online at dekoentertainment.com/john-entwistle
Mark Egan, Cross Currents…
It is exciting every time I get a new album from Mark Egan as he is such an amazingly versatile player and I never know what to expect (except for excellent artistry!) In his latest release, Mark has teamed up with Shawn Peyton on drums and Shane Theriot on guitar to bring us “Cross Currents”.
This collection of eleven tracks transports me to the Gulf Coast (New Orleans specifically). Mark’s fretless basses lay down a solid groove and lots of juicy solo work for this rootsy collection of funk, ambient, swamp-rock, second line, ballads, Cajun and even Indian Raga.
This trio is super-tight and the musicianship is flawless as each member has ample opportunity to shine. Even though each player is very talented in their own right, I feel that the collective energy is greater than just the sum of the players on this album. Each musician contributed to composing music for this project but the lion’s share are Mark’s original pieces.
I spent the summer of 1981 in New Orleans and this wonderful music takes me back to those fond memories. I participated in a wacky raft race on Lake Ponchatrain and this opening track elicits images of fun, sunshine, music, and great food.
This is another superb album that everyone will enjoy. Get your copy today! Cross Currents is available online at Amazon.com. Visit Mark online at markegan.com.
Gear News: Future Impact V4 Guitar & Bass Synth Now Available in the U.S.
Interview With Barker Bass’s Inventor and Writer Lee Barker
Working-Class Zeros: Episode #4 – Boutique and Vintage Basses, Dress Code for Summer Gigs
Gear News: Ibanez & Graph Tech Launch Multi-Scale Bass with Cutting-Edge Tuning
Album: John Entwistle, Rarities Oxhumed – Volume Two
July 22 Edition – This Week’s Top 10 Basses on Instagram
Gear News: Positive Grid Launches Spark 2
Gear Review: Exploring the Joyo Gloam – Sub Octave Fuzz Pedal for Bass
Alberto Rigoni On Unexpected Lullabies
