Candid Records and Chick Corea Productions announce Trilogy 3, a new double live album. In 2020, Chick Corea-27-time GRAMMY winner, National Endowment for the Arts Jazz Master, and one of the most iconic figures in jazz-hit the road with his powerhouse trio of Christian McBride and Brian Blade, embarking on what would be Corea’s final tour. The recordings from those shows are now being released as Trilogy 3, the third installment from this extraordinary group. The announcement comes with the first single “Windows,” an iconic Corea composition making its first appearance on a trio recording of Chick’s since his landmark album Now He Sings, Now He Sobs nearly six decades ago.
The album is now available for pre-order. It will be released on all streaming services on February 28th with physical formats arriving on May 30th. The vinyl release is a double-disc LP in a gatefold jacket. Produced and recorded by Bernie Kirsh, and mastered by Bernie Grundman, both the LP and CD feature personal liner notes from Christian McBride and Brian Blade.
With years of collaboration to draw from, nine-time GRAMMY-winning bassist Christian McBride and four-time GRAMMY-winning drummer Brian Blade bring a profound musical connection to their work with Corea. Their long standing partnership fuels a dynamic, ever-evolving soundscape that elevates the art of the jazz trio to new heights.
Following the critically acclaimed Trilogy (2013) and Trilogy 2 (2018) albums, which each earned two GRAMMY Awards including Best Jazz Instrumental Album, Trilogy 3 marks yet another milestone for this celebrated ensemble. The release brings together live performances from their February-March 2020 tour, cut short by the onset of the pandemic, capturing the trio’s extraordinary interplay and artistic brilliance. The album features fresh interpretations of jazz standards by Thelonious Monk and Bud Powell, alongside Chick Corea compositions, and a vibrant take on Domenico Scarlatti’s “Sonata In D Minor.”
Widely regarded as one of Chick’s most acclaimed ensembles, this trio has consistently pushed the boundaries of jazz with technical brilliance, playful camaraderie, and deep emotional resonance. Trilogy 3 invites listeners to join these masters on a journey through music that is both timeless and groundbreaking.
Tracklisting: 1. Humpty Dumpty 2. Windows 3. Ask Me Now 4. You’d Be So Easy To Love 5. Trinkle Tinkle 6. Scarlatti: Sonata in D Minor K9, L413 Allegro 7. Spanish Song 8. Tempus Fugit
Some albums tell a story. Paradise Theatre built one, set the stage, lit the spotlights, and gave us the show of a lifetime. Released on January 16, 1981, Styx’s tenth studio album didn’t just top the charts—it beamed with ambition, drama, and heart. A concept album with lasers on the vinyl and love in the lyrics? Yes, please. You’ve heard the hits, but here are five lesser-known facts that deserve a standing ovation.
1. It’s a Concept Album Inspired by a Real Theatre—Used as a Metaphor for America Dennis DeYoung imagined Paradise Theatre as a grand narrative: a once-beautiful Chicago venue opening in 1928, fading by 1956, and symbolizing America’s own shifting hopes. The stage? Just a starting point. The real performance? A portrait of a country in change.
2. The Title Spelled Itself Three Different Ways on the Same Album Look closely: the front cover says Paradise Theatre. The back cover and label? Paradise Theater. The spine? Just Paradise. One album. Three spellings. A typographic enigma worthy of its own rock opera.
3. The Vinyl Has Laser-Etched Art on Side 2 Some first pressings featured the band’s name etched directly into the vinyl using laser technology. It didn’t just sound cool—it looked cool spinning under the needle. A side of music, a side of museum-worthy flair.
4. “Too Much Time on My Hands” Was Inspired by a Bar in Niles, Michigan Tommy Shaw turned everyday observation into a top 10 hit. Inspired by time spent in a bar where stories flowed and dreams paused, he wrote a song that danced between despair and swagger—and gave Styx one of their most memorable riffs.
5. “The Best of Times” Appears Three Times on the Album—Sort Of Dennis DeYoung wrote it as the emotional core of the record, and the melody lives in three places: the opening track “A.D. 1928,” the full single version, and again in “A.D. 1958” as a gentle curtain close. It’s not just a song—it’s the heart of the show.
1980 arrived with a guitar in one hand and a synthesizer in the other. Music reached across genres, fused new sounds, and turned up the volume on imagination. From shimmering post-punk to swaggering hard rock, from experimental rhythms to timeless choruses, these albums lit the fuse on a brand-new decade. Here are 10 of the most unforgettable albums from that electric year, listed in alphabetical order, each one still turning heads and winning hearts.
Ace of Spades – Motörhead Pure speed, pure volume, pure adrenaline. Lemmy and the gang delivered a thunderous blast of metal that continues to roar. The title track plays like an anthem for every loud and loyal soul.
Back in Black – AC/DC Rock stepped into the ’80s in a black suit and shades. With riffs for days and hooks that hit like lightning, this album powers up stadiums and speakers to this day.
Boy – U2 The beginning of a band that aimed skyward. With youthful urgency and soaring guitars, Boy introduced the world to U2’s signature sound—full of yearning, energy, and promise.
Closer – Joy Division Atmospheric, emotional, and full of hypnotic beauty. Every beat and lyric carries a sense of gravity and grace, as post-punk took a step into new artistic territory.
Crocodiles – Echo & The Bunnymen Echoes swirled, shadows shimmered, and a new kind of rock emerged. Crocodiles brought post-punk cool with psychedelic heat, and every track still sounds sharp, strange, and spectacular.
Pretenders – The Pretenders A debut that arrived fully formed and endlessly cool. Chrissie Hynde’s voice and vision drove this mix of toughness and tenderness, sounding as bold and brilliant as ever.
Remain in Light – Talking Heads A rhythm revolution. Talking Heads pulled from funk, Afrobeat, and experimental grooves to build a sonic mosaic. Every listen brings new discoveries and deep grooves.
Sandinista! – The Clash Three records of fearless creativity. Punk embraced reggae, hip-hop, gospel, and global sounds, stretching the idea of what an album could do—and where it could go.
Scary Monsters (and Super Creeps) – David Bowie A new decade, a new transformation. Bowie mixed art rock, post-punk, and futuristic textures to deliver a high-fashion howl of creativity and character.
The River – Bruce Springsteen Stories poured out like open highways and Saturday nights. This double LP captured moments of joy, struggle, hope, and longing—all wrapped in Bruce’s signature rock and roll soul.
One of the great lyricists of our time, the lead singer and songwriter for the iconic Glasgow-based band Belle and Sebastian, pens a sensitive and intimate account—his debut novel based on his own youthful experiences—of dark days leading to light and a coming of age through music.
It’s the early 1990s in Glasgow, Scotland, and Stephen has emerged from a lengthy hospital stay. Diagnosed with chronic fatigue syndrome, a little-understood disease which has robbed him of any prospects of work, friends, or independent living, he moves slowly toward new goals and meets others like him, including Richard, a friend from school, and Carrie, a young woman bedridden for five years. Feeling isolated and alone, they form their own support group, and try to get by with as little money and pain as possible. Since he’s been ill, Stephen never feels warm, inspiring Carrie to affectionately call him “The World’s Coldest Boy.” As the world seems to care less for them, the trio start to care less about fitting in with the world.
Stephen soon discovers he has a talent for writing songs. He awakens to the possibility of a spiritual life that transcends the everyday, and feels a calling for a place that might as well be on the other end of the universe let alone the world. Buoyed by tentative hope, he and Richard leave Glasgow in search of a cure in the mythic warmth and sun of California. As they float between hostels, sofas, and park benches, they discover the trip is life-changing in ways neither expected, and Stephen embraces a new-world reinvention that will change his life forever.
Melodic and captivating, filled with graceful notes, melancholic chords, and witty, thoughtful riffs on life’s infinite possibilities and curiosities, Nobody’s Empire is a warm and wonderful coming-of-age novel, imbued with Stuart Murdoch’s magical lyricism.
Mel Brooks once said that comedy is just tragedy plus time. Well, 99 years later, the world is still laughing. From the Borscht Belt to Broadway, Hollywood to Hulu, Mel Brooks has shaped the way we laugh, spoof, and sing about it all. In honor of the legend turning 99 today, here are 99 true and delightful facts about the one and only Melvin James Kaminsky—better known to the world as Mel Brooks.
Mel Brooks was born Melvin James Kaminsky on June 28, 1926, in Brooklyn.
His father died when Mel was just two years old.
He grew up in Williamsburg, Brooklyn, in a tenement.
His mother’s family was from Kyiv; his father’s side hailed from Danzig.
He had three older brothers: Irving, Lenny, and Bernie.
He once said much of his comedy came from anger, wrapped in humor.
He saw Anything Goes at age nine and decided to pursue showbiz.
He got his first job in entertainment at age 14 at a Borscht Belt hotel.
At that job, he met an 18-year-old Sid Caesar.
He once jumped into a pool wearing a derby and rocks in his suitcases as part of a comedy act.
He learned to play drums from the great Buddy Rich.
He earned money as a drummer in his teens.
His first time doing stand-up was at age 16, filling in for a sick MC.
He changed his last name from Kaminsky to Brooks, inspired by his mother’s maiden name.
He graduated from Eastern District High School in January 1944.
He intended to study psychology at Brooklyn College.
He was drafted into the U.S. Army in 1944 at age 18.
He trained at Fort Sill, Oklahoma, as a radio operator.
He participated in the Battle of the Bulge as a combat engineer.
His job included clearing land mines in Nazi Germany.
He countered German propaganda by singing Al Jolson songs into a bullhorn.
He spent time in the stockade after hitting a heckler with his mess kit.
He built bridges over the Roer and Rhine rivers during the war.
He ended the war entertaining troops in the Special Services.
He was discharged in June 1946 as a corporal.
After the war, he worked in Catskill resorts as a musician and comic.
Sid Caesar hired him to write for The Admiral Broadway Revue in 1949.
He earned $50 a week writing off-the-books gags.
In 1950, he joined Your Show of Shows as a writer.
His colleagues on the show included Carl Reiner, Neil Simon, and Mel Tolkin.
Carl Reiner later based Buddy Sorell on Brooks for The Dick Van Dyke Show.
Neil Simon’s play Laughter on the 23rd Floor was also inspired by Brooks.
Mel Brooks inspired the character Ira Stone in Simon’s play.
He continued writing for Caesar’s Hour from 1954 to 1957.
He cited Dead Souls by Gogol as a life-changing gift.
He performed the “2000 Year Old Man” act with Carl Reiner.
Their first comedy album sold over a million copies in 1961.
The duo revived the act multiple times through the 1990s.
Brooks created the 2500-Year-Old Brewmaster for Ballantine Beer.
He co-wrote the Broadway musical All American in 1962.
He conceived and voiced The Critic, which won an Oscar in 1963.
He co-created Get Smart with Buck Henry in 1965.
The show won seven Emmys and ran until 1970.
He won the Oscar for Best Original Screenplay for The Producers (1968).
Peter Sellers personally promoted The Producers in full-page ads.
He later turned The Producers into a Tony-winning Broadway musical.
He directed The Twelve Chairs in 1970.
He co-wrote Blazing Saddles, released in 1974.
The film became the second-highest-grossing movie of 1974.
Brooks described Blazing Saddles as “a Jewish western with a Black hero.”
He co-wrote Young Frankenstein with Gene Wilder.
He provided three voice cameos in Young Frankenstein.
Young Frankenstein was the third-highest-grossing U.S. film of 1974.
Pauline Kael praised Brooks’s direction in Young Frankenstein.
He directed Silent Movie in 1976—the first feature-length silent film in decades.
Marcel Marceau says the film’s only spoken word: “Non!”
He made High Anxiety in 1977, parodying Hitchcock films.
Brooks produced The Elephant Man in 1980 under Brooksfilms.
He used the Brooksfilms name so audiences wouldn’t expect a comedy.
Brooksfilms also produced The Fly and 84 Charing Cross Road.
He starred in and produced To Be or Not To Be in 1983.
He spoofed sci-fi with Spaceballs in 1987.
He directed Life Stinks in 1991, his only non-parody.
He returned to Robin Hood parody with Men in Tights in 1993.
He spoofed vampire films with Dracula: Dead and Loving It in 1995.
He created the Broadway version of The Producers in 2001.
The musical won a record-breaking 12 Tony Awards.
He wrote a musical version of Young Frankenstein in 2007.
He voiced Bigweld in the animated film Robots (2005).
He voiced Vlad in Hotel Transylvania 2 and 3.
He created Spaceballs: The Animated Series in 2008.
In 2021, he released his memoir All About Me!
He produced History of the World, Part II for Hulu in 2023.
He received a 2023 Emmy nomination for voiceover work.
In June 2025, he announced Spaceballs 2 is on the way.
He is executive producing Very Young Frankenstein for FX.
He is one of 21 entertainers to achieve EGOT status.
He won his Oscar in 1968.
He won his first Emmy in 1967.
He won three Emmys for Mad About You in the late 1990s.
He won a Grammy in 1999 for The 2000 Year Old Man in the Year 2000.
He won three Tonys for The Producers in 2001.
He won Hugo and Nebula Awards for Young Frankenstein.
He was voted #50 on Channel 4’s Comedian’s Comedian list.
AFI ranked Blazing Saddles #6 on their comedy list.
The Producers ranks #11, and Young Frankenstein #13.
He received a Kennedy Center Honor in 2009.
He got a Hollywood Walk of Fame star in 2010.
PBS aired a American Masters biography about him in 2013.
He received the AFI Life Achievement Award in 2013.
He left a six-fingered handprint at the TCL Chinese Theatre.
He received a British Film Institute Fellowship in 2015.
He received the National Medal of Arts in 2016.
He was married to Anne Bancroft for 41 years.
They met during a rehearsal for The Perry Como Variety Show.
Their son, Max Brooks, wrote World War Z.
Brooks credits Bancroft for encouraging him to do Broadway.
He reads Russian literature every year, especially Gogol’s Dead Souls.
In 2024, Mel Brooks received an Honorary Academy Award, celebrating his lifetime of achievements in comedy and film.
A great ballad doesn’t just play—it pauses time. It walks into the room, takes your hand, and reminds you of the love you held, the heartbreak you navigated, or the moment you realized someone really saw you. Ballads are the slow dances of memory. They know all the words you never said, and all the tears you never scheduled. These ten? They continue to hit with the force of a freight train wrapped in velvet.
“Creep” (Acoustic) – Radiohead In its softest form, it becomes a letter from your loneliest self to the one person who never quite turned around.
“Elephant” – Jason Isbell It’s quiet, it’s brutal, it’s beautiful. A song about love in the face of terminal illness that never once flinches—just holds your hand and lets you fall apart slowly.
“Fix You” – Coldplay A glow-in-the-dark anthem for anyone who’s ever tried to pick up someone’s broken pieces—while still holding your own.
“Hallelujah” – Jeff Buckley Biblical. Poetic. Devastating. This is what it sounds like when vulnerability becomes a hymn.
“I Will Always Love You” – Whitney Houston It begins with a whisper, builds into a cathedral, and leaves your soul standing in the balcony.
“Nothing Compares 2 U” – Sinéad O’Connor Written by Prince. Delivered by emotion. It remains a masterclass in longing that echoes louder with each year.
“Someone Like You” – Adele It’s the sound of grace wrapped in grief. A song that lets you weep with dignity while pretending you’re fine at brunch.
“Tears in Heaven” – Eric Clapton A gentle melody, a towering ache. This one doesn’t knock—it lingers quietly, arms open, eyes full.
“The Book of Love” – Peter Gabriel It reads like a bedtime story and lands like a love letter you still keep in a drawer.
“The Night We Met” – Lord Huron Time travel in a song. The chords take you back, the lyrics leave you wishing you could rewrite everything.
Holiday albums aren’t just for pop megastars and department store soundtracks. They’re a gift indie artists can give to the world—and to themselves. So deck the halls, plug in the mic, and start sleighing.1. Tinsel Never Goes Out of Style There’s something timeless about sleigh bells and nostalgia. Even if you’re a synth-pop shoegazer or folk-punk banjo wizard, tossing a few jingle bells into a track makes you instantly festive—and weirdly marketable.
2. Perennial Playlist Placement Mariah Carey doesn’t need to release new music because “All I Want for Christmas Is You” pays her December rent and buys the building. One catchy indie carol and you’re set for life—or at least one viral TikTok season.
3. You Can Be as Cheesy as a Bûche de Noël Holiday albums are a license to embrace the cheese. Corny lyrics? Great. Over-the-top arrangements? Please. Pun-filled song titles like “Yule Be Sorry”? Encouraged.
4. Seasonal Merch Opportunities Galore Sweaters with your album cover. Limited-edition peppermint vinyl. Ornaments shaped like your face. If you can dream it, Etsy can stock it.
5. It’s the Only Time You Can Rhyme “Reindeer” with “Beer” and Get Away With It Holiday lyrics let you stretch those rhyme muscles—and your imagination. Snowflakes, mistletoe, emotional regret… all fair game.
6. Nostalgia Is a Heck of a Drug People want to feel things during the holidays. Make them cry. Make them laugh. Make them awkwardly slow dance at the office party. You’re tapping into a seasonal vulnerability market, and business is booming.
7. Your Parents Will Finally Understand Your Music Forget trying to explain your lo-fi experimental EP about isolation. Hand your grandma your ukulele version of “Jingle Bells” and bask in the wholesome approval.
8. December Gigs = Hot Cocoa and Loyal Crowds Holiday shows are cozy, packed, and full of goodwill. Everyone’s tipsy on eggnog and ready to sing along. It’s like musical therapy with bonus glitter.
9. Collabs Are Easier Than Ever Other indie artists want in too. Make it a duet, a group singalong, or a weird elf-themed concept record with your friends. Unity in jolliness!
10. You Deserve to Feel the Magic, Too Let’s be honest—making music is hard. Making holiday music is fun. Give yourself a break, put on a Santa hat, and remember why you love making tunes in the first place.
Music has long been recognized as a powerful tool to influence emotions, decision-making, and behavior. From the energizing beats that drive us through workouts to the calming melodies that help us relax, sounds and music profoundly shape our psychological state in many ways.
When it comes to gambling, this influence can be particularly significant. The casino can create environments that can subtly alter player behavior and decision-making processes, but listening to your favourite soundtracks may have subconscious effects you may forget about.
The Psychology of Music and Risk-Taking
Research in environmental psychology has demonstrated that music affects cognitive processing, emotional regulation, and risk perception in measurable ways. When we hear music, our brains release dopamine, the same neurotransmitter associated with the rewards of gambling. This neurochemical overlap can prime the brain for risk-taking behavior, potentially making gamblers more susceptible to impulsive decisions and prolonged gameplay.
Brick-and-mortar casinos commonly use music and sound to affect player behaviour. It’s more challenging to do so online. If you play at an international casino online, like those found on this website, you can control the music and ambience yourself, and the effect is increased safety. However, your own playlist can still make an impact.
The tempo, volume, and genre of music all play crucial roles in shaping our psychological state. Fast-paced, high-energy music tends to increase arousal levels and can lead to quicker decision-making, while slower, more melodic pieces often promote reflection and careful consideration. These effects can translate into significantly different playing patterns and risk tolerance levels.
Slow-Paced VS Fast-Paced Music
A Norwegian study led by Rune A. Mentzoni looked at the effects of slow-paced and fast-paced music while gambling. 101 people participated in the study, split up into two groups; group A played a gambling game with fast-paced music while group B did the same with slow-paced music.
The study mainly looked at the differences between bets placed, reaction time, and game evaluations. What they found confirmed their hypothesis.
Those with slow-paced music played placed overall more bets than the other group.
Those with fast-paced music played had a faster reaction time, leading to a shorter interval between bets. There was no difference in the game evaluation between the two groups.
Interestingly, both types of music can lead to riskier gambling behaviour in the form of prolonged gambling or a faster game pace.
The slow-paced music put players in a “flow state”, where they became fully absorbed in the game and seemingly forgot about the outside world. The fast-paced music made players act faster with less time to think, resulting in a more spontaneous gambling style.
Genre-Specific Impacts on Gambling Behavior
Different musical genres appear to have distinct effects on gambling behavior patterns. Electronic dance music and high-tempo pop music create an atmosphere of excitement and urgency. The repetitive beats and synthesized sounds can induce a trance-like state that diminishes awareness of time passage and financial losses.
Players exposed to these musical environments often report feeling more confident and willing to place larger bets, potentially leading to extended gambling sessions.
Classical music, conversely, tends to promote more analytical thinking and measured decision-making. Studies have shown that gamblers listening to classical compositions often take longer to make betting decisions and tend to be more conservative with their wagers. The complex harmonies and structured progressions seem to engage analytical brain regions, potentially counteracting the impulsive tendencies that drive problematic gambling behavior.
Rock and heavy metal music present an interesting middle ground, with their effects largely dependent on the specific characteristics of individual tracks. High-energy rock songs with aggressive lyrics and driving rhythms can increase risk-taking behavior, while more melodic rock ballads may promote reflection and emotional regulation.
The familiarity factor also plays a role – songs that evoke personal memories or emotional connections can significantly impact decision-making processes both positively and negatively. Some people love classical music while others don’t. This is one of the factors that can make music-related studies on gambling difficult to conduct with an unbiased result.
The Path from Background Music to Problem Gambling
The transition from casual gambling with background music to problematic gambling behavior often occurs gradually and unconsciously. It takes more than just one song to happen. Music serves as a conditioning mechanism, creating positive associations with gambling activities that can trigger cravings and compulsive behavior over time.
Personal music preferences also play a significant role in this progression. Gamblers who frequently listen to high-energy, stimulating music in their daily lives may be more susceptible to the arousing effects of casino soundtracks. This susceptibility can accelerate the development of problematic gambling patterns, as the musical environment amplifies existing psychological predispositions toward risk-taking and impulsivity.
Data and information are provided for informational purposes only, and are not intended for investment or other purposes.
Today, on what would’ve been his 100th birthday, the music of Clifton Chenier is being heard more far and wide than he could’ve ever imagined. From the original recordings that put the King of Zydeco on the map to the covers from bands and artists he helped influence, Chenier’s fiery accordion and raucous, bluesy delivery have touched the souls of everyone from the fledgling aficionado to some of the biggest acts in history. And today, one of the latter is returning the love to one of their early influences. As part of the upcoming album, A Tribute To The King Of Zydeco, The Rolling Stones got into the studio to put their stamp on the song that birthed a genre, “Zydeco Sont Pas Salés.”
‘’The Stones are truly honoured to be on this tribute album amongst a stellar cast of artists and musicians. Clifton Chenier was one of the most influential musicians to come out of Louisiana. He turned so many people onto the wonderful free spirited dance music of Zydeco, including ourselves back in the day. Although the development of any music style can seldom be attributed to one artist, there is not a zydeco band who has not followed the template Chenier created,” The Rolling Stones stated.
“[The Rolling Stones] seem to effortlessly turn everything they touch into their own iconic brand of rock’n’roll,” says the track’s producer, CC Adcock. “That’s certainly what they’ve done with Clifton’s music—and even his musicians—here!” From the get-go, a rowdy line is drawn between the Stones’ and Chenier’s forms of hopped-up dance music. It just makes sense. With the help of Steve Riley on accordion, the two entities’ worlds are straddled seamlessly and jubilantly. “Both Mick singing in impeccable Creole French and Keith and Ronnie completely carving up the traditional approach with those signature licks and their iconic ‘weaving’ style sounds easy and playful,” says Adcock. “Man, this one sounds like they’re just running wild through the swamps with it!”
Out this Friday, June 27th, on Valcour Records, A Tribute To The King Of Zydeco is all about honoring Chenier’s legacy. “Clifton Chenier was an international ambassador, introducing the world to Zydeco,” say the album’s producers, GRAMMY Award-winning producer and member of Los Lobos, Steve Berlin, and Joel Savoy, Valcour Records founder and member of the “First Family of Cajun Music.” “While he has been honored with many awards, his real impact is found in the lives and style of musicians from southwest Louisiana and beyond.” From Taj Mahal to John Hiatt, Lucinda Williams to Charley Crockett, Marcia Ball to Molly Tuttle, A Tribute to the King of Zydeco is a 14-track romp through Chenier’s legendary catalog with performances from the aforementioned icons and many more
Fans can stream or purchase “Zydeco Sont Pas Salés” today at this link, hear the project’s previously-released singles, “Release Me” by Lucinda Williams, Tommy McClain, and Keith Frank and “Hey ‘Tite Fille” by Taj Mahal and Keith Frank, at their respective links, and pre-order A Tribute to the King of Zydeco ahead of its June 27th release right here.
To further celebrate Chenier’s 100th birthday, our friends at Smithsonian Folkways are releasing an expansive box set featuring music from throughout his career as well as a limited edition 7” single which features The Rolling Stones’ raucous version of today’s single on its South side. On the North side is a version from Chenier’s 1965 sessions with Arhoolie founder Chris Strachwitz, offering a contrasting take on the rollicking shuffle heard on his debut album. Learn more here.
In addition to the announcement of A Tribute to the King of Zydeco, Valcour Records recently joined the Chenier family estate and the University of Louisiana Lafayette to form the Clifton Chenier Memorial Scholarship. In celebration of the 100th anniversary of the King of Zydeco in 2025, the Clifton Chenier Memorial Scholarship honors Clifton Chenier’s legacy at the College of the Arts at the University of Louisiana at Lafayette. The scholarship fund will offer annual financial assistance to students studying Traditional Music, specifically Zydeco accordion, at UL Lafayette. All proceeds from A Tribute to the King of Zydeco will go directly toward funding this new scholarship. To learn more about the scholarship or to donate, please visit this link.
A Tribute to the King of Zydeco Tracklist:
“Zydeco Sont Pas Salés” – The Rolling Stones and Steve Riley
“Easy Easy Baby” – Charley Crockett and Nathan Williams, Sr.
“Hey ‘Tite Fille” – Taj Mahal and Keith Frank
“Release Me” – Lucinda Williams, Tommy McClain, and Keith Frank
“Just Like A Woman” – Steve Earle and Anthony Dopsie
“I’m On The Wonder” – Jon Cleary and Curley Taylor
“My Soul” – Jimmie Vaughan, Johnny Nicholas, and Steve Riley
“Hot Rod” – David Hidalgo and CJ Chenier
“Tout Le Temps En Temps” – Shannon McNally, Keith Frank, and Molly Tuttle
“Ay Ai Ai” – Ruben Ramos with Los Texmaniacs and Augie Meyers
“I May Be Wrong” – Marcia Ball and Geno Delafose
“I’m Coming Home” – CJ Chenier and Sonny Landreth
“You Used To Call Me” – John Hiatt and Roddie Romero
“Why Did You Go Last Night” – Kam Franklin, A. J. Haynes, and Roddie Romero
Album produced by Steve Berlin and Joel Savoy with Executive Producer John Leopold. “Zydeco Sont Pas Salés” and “Release Me” produced by C.C. Adcock.
Bassist/producer Mocean Worker (aka Adam Dorn) and pianist/composer Joe Alterman have come together for Keep The Line Open, a funky, feel-good tribute to the late soul jazz legend Les McCann. Out September 26 via MOWO! Inc., the nine-track collection taps into the genre-blurring spirit that defined McCann’s music, as well as his influence on Dorn and Alterman, who knew him as a mentor, collaborator and close friend. With credits ranging from Eddie Harris and Ramsey Lewis to Hal Willner, Marcus Miller, and Brian Eno, Dorn and Alterman fuse their distinct artistry into an electrifying set that celebrates McCann’s essence while standing on its own as a joyous, party-starter. Keep The Line Open’s first single, “Yay Yay Yay,” is out today.
Dorn and Alterman created Keep The Line Open by melding sampling with live instrumentation to pay homage to an era when the groove reigned supreme and the vibe was decidedly danceable. It’s an album with that ‘live thing’ without actually being a live album. It invites the listener to shake their hips, stomp, shout, and exuberantly raise the collective vibration. Drawing from years of conversations recorded for posterity, saved voicemails and other aural documents of McCann, they’ve woven his voice, laughter, and ever-present sense of humor throughout the album, which threads in and out of the tracks. The infusion of McCann’s raspy timbre is the bond that holds the music together.
“We wanted to make a record that harkened back to an era, but use the technology of the current era that says, ‘here’s a party and you can come to the party and not feel like you are being preached at…’” explains Dorn.
Alterman concurs: “The idea of music making people feel good and enjoy themselves is one of the things Adam and I definitely have in common. It’s how we got into the music and live with the music, and that’s a point of this project for sure. Hopefully you’ll listen to it and think it’s a live party.”
Dorn’s relationship with Les McCann began through his father, the legendary Atlantic Records’ staff producer Joel Dorn, who worked closely with McCann on several albums, including rare-groove classics like Layers, Invitation to Openness, and the multi-platinum Swiss Movement, which also featured electric saxophone pioneer Eddie Harris. As a kid, the younger Dorn would often overhear long conversations between his father and McCann who shared a deep friendship. As he grew older, he himself began a profound relationship with McCann via extended phone conversations. It led McCann to hire Dorn, an accomplished bassist in his own right, to be part of his rhythm section on live dates.
Alterman, meanwhile, started out as a devoted fan of McCann who received the rare opportunity to open for one of his heroes at The Blue Note. The two connected instantly, forging a friendship that lasted for years, primarily through near daily, hour-plus phone conversations. Although plans to record and tour together never materialized due to McCann’s health issues, they did co-write the song “Don’t Forget To Love Yourself.” Alterman would later release Joe Alterman Plays Les McCann: Big Mo & Little Joe, a heartfelt tribute to his mentor and friend.
“It’s all constructed to sound organic, but if you saw the sessions, they look like a Jackson Pollock painting,” recounts Dorn. “It’s like someone who knows how to work with samplers that’s actually a jazz musician. Joe would solo over little ideas and I’d make big arrangements out of them.”
Alterman adds: “I’d send Adam four or five solos and he’d piece together the catchy parts to make it what you hear.”
The result is an album that is immensely funky (“Gimme Some Skin”), with nods to Latin grooves (“Moses Gonzalez”), and always heavy on the backbeat (“I Love It!, I Love It!, I Love It!”). There are times on Keep The Line Open where the listener will feel as though they are being taken to church (“Yay Yay Yay”), and at other times being taken on a trip to Haight-Asbury in the ’60s (“Circus Going Backwards”), and yet simultaneously the music to feel modern and of the moment (“Lemme Tell You Something”). There is a Les McCann cover tune (“Burnin’ Coal”), there is a moment for Alterman to thrill with his considerable stride piano skills (“Isn’t She Loverly”), and throughout there is Les, commenting on the proceedings with his inimitable wit, humor, and loving nature, making it all seem like it is being played just as he’d imagined. The limited-edition, 180-gram orange vinyl also includes a 10-page insert with extensive liner notes by Alterman, Dorn and Michael Smith, author of In with the In Crowd: Popular Jazz in 1960s Black America, alongside rare and previously unpublished photos of McCann by Sharon Josepho.
And while Les McCann is the driving force, the entire spirit of his era, from Ramsey Lewis to Ahmad Jamal, Eddie Harris to Cannonball Adderley, lives in the music. It’s this inspiration that guides Mocean Worker and Joe Alterman through each of the nine tracks. Keep The Line Open is a musical celebration that, like Les McCann himself, makes you feel alive and happy and ready to party.
KEEP THE LINE OPEN Track Listing:
1. I Love It!, I Love It!, I Love It! 2. Yay Yay Yay 3. Burnin’ Coal 4. Gimme Some Skin 5. Circus Going Backwards 6. Get This To The People 7. Moses Gonzalez 8. Lemme Tell You Something 9. Wouldn’t It Be Loverly / Les Has The Last Word Keep The Line Open is out September 26 on 180-gram, Orange Vinyl, CD and Digital formats. Pre-order available here.
