Gero and Évi · San Francisco Street ft. Stex (Peet Remix)

A laid-back, dreamy, and chic take on Sun Rai’s song about a metaphorical oasis where two lovers find each other and break away from the chaotic world–pure optimism encapsulated in seductive harmonies and a comforting, rich soundscape.

Co-produced by the Peet Project’s Peter “Peet” Ferencz, the track showcases the talents of prominent European jazz/lounge artists Gero and Évi, topped with an outstanding soprano sax solo by Tamás “Stex” Stencli.

GERO – keyboards
Évi Kolipka – lead vocals
Tamás “Stex” Stencli – soprano sax
Peter “Peet” Ferencz – keyboards, guitars, programming

Byron Miller · Stride (Granby Hills)

In 1966, Jazz legend Julian “Cannonball” Adderley famously stated, “Sometimes we are not prepared for adversity – Mercy, Mercy, Mercy.” In 2002, Gospel great Donnie McClurkin added, “We Fall Down (But We Get Up).” Within that world class trajectory, modern electric bass master Byron Miller delivers the single “Stride (Granby Hills),” literally taking the trials of life into his phenomenal fingers, administering all the healing his music can bring then giving the rest to God so He can work The Master Plan.

“Stride (Granby Hills),” co-composed and co-produced by Miller and his current ace collaborator Chris “Big Dog” Davis, is the third single leading to the fourth chapter of Byron’s acclaimed PsychoBass series, PsychoBass 4: Motor City Love, slated for a summer of 2024 release.

“Stride (Granby Hills)” is a feel-good song with a breezy swing that is perfect for radio, created to bring a lift to people’s spirits when they hear it. Davis sent an early version if the song to Miller, expressing that he wrote it to inspire himself as he was battling cancer…an illness he triumphantly beat. Miller added his signature electric bass sound to the piece creating yet another winning instrumental from the duo for the world of Contemporary Jazz. Simplicity and space – via the elements of ambient flute and keyboard textures - are the keys to the song’s healing power of refreshed reviviscence in a state of divine gratitude. Miller’s bass adds the sanctified Hallelujah vibration. The parenthetical title, Granby Hills, alludes to the place in Connecticut where Davis lives and rehabilitated his health.

Miller already whetted the appetites of the masses with two earlier teaser singles: the lowdown low-end theory jam, “Say it Ain’t Good to Ya,” and the sun-kissed “To The Floor” - both collaborations with multi-instrumentalist Chris “Big Dog” Davis. The next courses will include a surprise cover of a female Soul-Pop icon’s super sexy song from the `90s as well as the title track, “Motor City Love,” showing unwavering support for Detroit as only PsychoBass can bring it.

Allison Au with the Migration Ensemble · Migrations

Migrations is a musical exploration of why people leave their homes to pursue life in a new land, and the reverberating impact it has on future generations. It is an acoustic tribute to the complex but universal human act of migration, weaving lush, mosaic-like dreamscapes with poignant, heartrending lyrics. A suite of music conceptualized by the JUNO award winning saxophonist and composer Allison Au (pronounced “ow”), Migrations draws emotion and depth from Au’s family history of immigration to Canada: from Southern China and Malaysia on her father’s side and war-torn Poland and Israel on her mother’s side. A biracial descendant of migrants, Au’s compositional process is also informed by her personal experience of reconciling displacement, cultural identity, family legacy and the notion of home.“Migrations is one of the most important pieces of music I have created because it is so personal. It speaks to my identity as a Canadian born to immigrant parents and delves into subject matter that I previously attempted to articulate, but never found the project through which to do so.” Commissioned by the Royal Conservatory of Music, Migrations premiered at the 21C Music Festival at Toronto’s Koerner Hall in January 2020. Her fourth studio recording and most ambitious compositional work to date, Migrations features the musicians of Au’s longstanding quartet as the core of an expanded ensemble that includes vibraphone, string quartet, and voice. As a testament to the sentiments of traumas and upheaval shared by migrants of different backgrounds and circumstances, the lyrics of Migrations feature the words of poets including Emma LaRocque, Ruth Padel, Rae Marie Taylor, Duncan Mercredi, Chief Dan George, Langston Hughes and Wanda Coleman.

David Margam · Serenity (Feat. Roberto Vazquez)

Welcome to a journey of musical serenity! We are thrilled to present our new single, «Serenity» a delicate piece that seamlessly blends David Margam's masterful guitar skills with the emotive piano performance by Roberto Vazquez. Immerse yourself in the gentle notes that will transport you to a state of calm and tranquility. The collaboration between these talented artists has given birth to a melody designed to caress your senses and provide a moment of peace amidst the hustle and bustle of daily life.

Mark your calendars for March 1st, as this enchanting composition will be released on all digital platforms, offering you a unique opportunity to experience the serenity of this musical journey. Don't miss the chance to be captivated by the harmonious collaboration of David Margam and Roberto Vazquez. Let yourself be embraced by the soothing melodies on this special release date!

James Brown · We Got The Change

“Can you imagine James Brown saying, ‘We got to change’?' Well, he did,” says William “Bootsy” Collins. “And who's playing bass? Little ol’ funky me. Let's go!”

A never-before-released James Brown song, “We Got To Change,” stream HERE, makes its debut today on Republic/UMe.

“James Brown always leaned into the social tip,” Bootsy continues. “He always was trying to keep the youngsters informed and the people informed on what’s going on. The new breed was coming in and certain things were going out. He loved to inform people on what was coming and what was going to be because he felt like he was part of it, and he was.”

Recorded at Miami’s Criteria Studios on August 16, 1970, “We Got To Change” was laid down during a pivotal period in the world of James Brown - a few months earlier, longtime members of his famed James Brown Orchestra had walked out.

Brown quickly assembled a new group anchored by guitarist Phelps “Catfish” Collins and bassist William “Bootsy” Collins, two young brothers from Cincinnati. They brought a harder edge and a fresh identity to Brown’s music on such singles as “Get Up (I Feel Like Being) a Sex Machine,” “Super Bad,” and “Soul Power.” Brown called them The J.B.’s.

Their Criteria session featured a reunion with one of Brown’s 1960s sidemen: the great Clyde Stubblefield. “The Funky Drummer,” as he was known, would grace several of Brown’s subsequent hits and become one of the most sampled drummers of the hip-hop era. Also on the track is James Brown’s longtime No. 2, Bobby Byrd, who is heard alongside Brown on the chorus.

“We Got To Change” is another example of James Brown’s social outreach seen in singles like “Don’t Be a Dropout,” “Say It Loud I’m Black and I’m Proud,” “Get Up, Get Into It, Get Involved” and “King Heroin.”

It is also a testament to Brown’s diverse musical language, quoting from Little Jimmy Dickens’ 1949 hit “Take an Old Cold Tater (And Wait)” and the African-American anti-war spiritual, “Down by the Riverside.”

“The James Brown Revue invented the Funk,” says Funk author Rickey Vincent, “and the J.B.’s perfected it.” Newly unearthed and hitherto unheard, “We Got to Change” adds a critical page to the history of that perfection’s evolution.