Cruise line magnate T.F. Bellows (W.C. Fields) is certain his new ship will win a transatlantic race with his rival... but to be sure, he arranges for his ne'er-do-well jinx brother S.B. (Fields, again) to board the rival boat! Of course, S.B. gets on the wrong vessel, making for a comically bumpy voyage! Variety extravaganza co-stars Bob Hope (singing "Thanks for the Memories" in his feature debut), Martha Raye, Dorothy Lamour, Ben Blue. 91 min. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English (SDH).

In this program, the DNSO let's you experience the fascinating world of John Williams' music in a concert that brings cinema to life. From the epic fanfares of Star Wars to the magical sounds of Harry Potter and E.T. to the touching melodies of Schindler's List, this program spans an impressive arc between adventure, fantasy, and deep emotion. An evening full of goosebumps, big emotions, and unforgettable film music that awakens memories and ignites new enthusiasm.

Sometime in 2020 I listened to Canto Ostinato for the first time, and my enthrallment with the piece had begun. I was transfixed by it's particular amalgam of harmony, repetition, and pacing. By the spring of 2023 I had constructed and released my own solo interpretation, and I assumed at that point my working relationship with the composition had run it's course. But I underestimated it's magnetism. The following year I was back in it's grips, having been invited by Metropolis Ensemble's Andrew Cyr to expand on the foundation I had laid with the piece. Soon I was in Brooklyn, on a team of six with Cyr and the members of Sandbox Percussion, humbled and thrilled to be helping architect a brand new large ensemble arrangement of Canto Ostinato for a summer solstice performance at the Brooklyn Botanic Garden. We did so, our cohort growing to include the students of The New School's Sandbox Percussion Summer Seminar, as well as composers David Leon, Ben Wallace, and Ledah Finck and the Bergamot Quartet. It was a day we will all remember-sweeping, dreamlike, and what felt like a quintessential culmination. But even then... The piece still beckoned, and it became clear this new orchestration called for the embarkment on a studio album. A permanent document of our now collective ardor. Refined over a year and recorded in New York, 2025, this performance recasts the piece anew in a towering framework of mallet percussion, woodwinds, strings, and piano. It is our truest attempt at conveying Canto's beauty and magnitude in all it's kaleidoscopic harmony, dynamism, tension, and release. I stand once again in awe of Simeon ten Holt's monumental creation; to be a thread in it's sonic fabric is one of the great honors of my musical life. I don't assume we might be so fortunate again... but who knows.

Wellspring presents the arrival of a powerful new voice in creative music, unrelenting in passion and invention, while always transmitting a deeply empathic grace. Masterful composer-improviser DoYeon Kim is an unparalleled practitioner of the Korean gayageum (a silk-string zither), and is also in possession of a purposeful vocal intensity. This is her debut album as a bandleader, featuring fellow master musicians Tyshawn Sorey (drums), Mat Maneri (viola), Henry Fraser (bass). � Armed with an unlikely traditional instrument, flanked by three extraordinary improvisers, radiating a brash, acoustic strategy that simultaneously invokes folk universalism and a No Wave battle-stance, the Brooklyn-based virtuoso has dropped a volcanic sonic statement with grand humanist goals. Kim mingles Korean lullabies, fervent interactions between drums and strings, and pure instrumental expressions of musical self.�At times, she sounds like she can halt armies. Wellspring is a call for society to come together. � How the Seoul, South Korea-born 34-year-old came to be the centuries-old zither's leading (only?) practitioner of contemporary improvised music, reflects an expansive embrace of her own culture, her place in modern society, and her ascending recognition of music's liberatory power. � Kim has released works alongside Morris and Brandon Lopez. Her 2017 duo album GaPi with Chase Morrin garnered a Korean Grammy nomination. And she's shared stages with Kris Davis, Cooper-Moore and John H�bert, among many others. Now, Wellspring, is the recorded culmination of her growth period. It is a rumbling record, with wall-to-wall big sounds, all Kim compositions or group improvisations, built on immediacy and gusto. Even the aforementioned lullaby, "Walking in a Dream," which Kim performs with unrestrained vocal intensity, surrounded by Fraser's resonant bowing, Maneri's accompanying melody and counter figures, and Sorey adding atmospheric percussive touches-ends like a hurricane.��������� � Kim chose her accompanists not simply because of familiarity, but due to their emotionally unmediated relationship to the moment. "I don't want people thinking about their 'role' in the music" she says. "I want people free from their instrument, who are more about how they are making a sound and the relationship between our sounds." � That feeling and the album's humanist themes are well-displayed by Wellspring's two-part epic closer, the 20+-minute "Linear System"/"Calculus of the Soul." The instrumental "Linear Systems" is, according to Kim, constructed on the theme of the lifecycle, slowly building to a mass bowed drone, through a plucked and reactionary percussion section, before folding into the album's gentlest moment, and sliding into "Calculus of the Soul." "Please listen to this girl's story" the latter begins; then, with Maneri and Sorey flitting around her narration in noise-folk fashion, Kim speak-sings-then-screams of how between the sun's and the moon's daily arrival are countless formulas, and that the mystery of life is contained within those numbers. "That's how we live together!" LP is packaged with an insert featuring liner notes & addt'l images, and full album download card with CD Only track "Walking in the Dream".� Limited edition of 500.

VIEWPOINT

Elvis Presley goes diving for sunken treasure in a breezy adventure that pairs nautical capers with nightclub cool. The songs-"Love Machine," "I'll Take Love," and the title tune-arrive like souvenirs from a vacation you wish had lasted a week longer. With Dodie Marshall and Elsa Lanchester, it's easygoing fun from the King's later period.

WORLD HAS JUST BEGUN

LONG LONG TIME

SOMETHIN' TO RELAX WITH

After supporting roles in Flying Down to Rio sent their movie careers soaring, Fred Astaire and Ginger Rogers starred for the first time in this witty and delightful escapade about marriage, divorce and all the romantic complications that come in between. The Gay Divorcee set the style, tone, and behind-the-camera talents for the Astaire/Rogers classics to come and captured five Academy Award nominations including Best Picture.

Promised Heights solidified Cymande's place in music history, and contains some of their most-beloved and often-sampled tracks such as "Brothers On The Slide" & "Promised Heights." They were part of the first wave of innovators and originators of the fledgling Black British music scene. Promised Heights was recorded following the band's legendary US tour with Al Green. 2026 repress on black vinyl.

Delivering the second sermon in their Disco Gospel series, Chicago's Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor. Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city's spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ's DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe. Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind. As Robert M. Marovich of Journal of Gospel Music puts it, "The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they'll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors." Up first, Myrna Summers 'So Much to Live For' channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance. The B side sees the duo work their magic on, 'Lifted Me Higher'. Written by Kevin Yancy and taken from the Yancy Family's 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and '80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

Recorded during an almost 24-hour marathon first-day session for All My Relations, "Mitote" emerged from group improvisation and composition, featuring Sunny Jain (Red Baraat) on the dhol. Bosco and the band worked up an arrangement quickly with a heavy backbeat, building the melody on a blues form-embodying the world's nature of ecstasy and struggle. "Dilo" was recorded during the Ancestros Futuros sessions, but was left off the album. The rhythmic framework was composed by Brian Wolfe and arranged by the band. The song features call and response between the percussion and saxophone punctuated by high bell patterns and low bottom drum hits.

SHAPESHIFTER

Vinyl LP pressing. One of three releases marking the 100th birthday of Randy Weston. It features previously unreleased live material. Randy Weston is known to the public thru the lens of the small ensemble of the African Rhythm group, recognition that is very well deserved and his signature around the world. Randy Weston is not only in direct lineage of Duke Ellington and Thelonious Monk, he was also the real integrator of African music into the Jazz World. In 1985 the city of Brooklyn honored Randy with a week-long tribute, culminating in a unique concert at the Brooklyn Academy of Music (BAM) on February 16. For this rare occasion, Randy assembled a dream ensemble - dancers, singers (including Andy Bey), and a big band like no other. The arrangements and conducting were entrusted to none other than Melba Liston - his trusted collaborator and musical sister. Melba, a brilliant trombonist and an even more masterful arranger, transformed Randy's compositions into grand orchestrations that paid tribute to his musical legacy.

BEING

Ebo Taylor, the Ghanaian guitarist, composer, bandleader, and producer is a seminal figure when it comes to highlife music. Remined is proud to present these two classics as a 45 for first time, in conjunction with Mr. Bongo. "Will You Promise" and "Maye Omama" are both taken from Taylor's 1976 release "My Love And Music." Grab doubles and watch the dance floor fill up.

STILLE

With "Love Is Simple," Jeremy Pelt returns to the art of balladry, distilling eight deeply felt performances into his first vinyl-only anthology and shining a light on one of the most quietly persuasive sides of his artistry. Drawn from his HighNote recordings, the set favors emotional honesty over grandstanding, pairing a few familiar titles with lesser-known gems that reward close listening. From Pelt's own disarmingly direct title track to relaxed, assured readings of songs by Rodgers & Hart, Jule Styne, Adams & Strouse, and Marian McPartland, the music unfolds with patience, grace, and a deep sense of purpose. Recorded primarily at the legendary Rudy Van Gelder Studio and featuring a heavyweight cast including George Cables, Buster Williams, Billy Hart and others, these sessions offer a rare balance of warmth and clarity, leaving plenty of room for breath, nuance, and atmosphere. Long celebrated as one of jazz's most eloquent ballad players, Pelt bares his soul here with confidence and restraint, offering a retrospective that feels timeless without ever sounding self-conscious. "Love Is Simple" marks his first appearance on LP, a format perfectly suited to music that asks you to slow down, lean in, and stay awhile.

LOST TAPE - 1980