Prophone and Naxos Sweden are proud to present Adi Shakti, the third studio album by singer, pianist and composer Vidya-Liselotte Sundberg, known widely as ‘Vidya’. Building on the sentiment of her second album Papillon, Adi Shakti draws upon Vidya’s experience of having searched for, found, then lost her biological Indian mother, followed by the death of her adopted Swedish mother in 2022. The Hindu mantra ‘Adi Shakti’ means ‘Primal Power’, and it was this alongside an extremely moving poem by the 13th century Persian scholar and mystic Rumi that inspired her new music.

“Out beyond ideas of right doing and wrong doing there is a field, I’ll meet you there. When the soul lies down on that grass the world is too full to talk about” - Rumi

Adi Shakti means ‘Primal Power’ and connects humanity to the vast and infinite divine source inside. The mantra is feminine to its aspect and when chanting the words, it merges the material world into the life giving motherly-energy, that creates all things. Vidya felt that the mantra and the poem harmonize well together, as they are both implying there’s a place beyond all our knowing, where a new world is available. Her new music came to be inspired from this. Speaking about the concept of her new album, Vidya says: “I discovered the Rumi poem in my twenties and after that it circulated in my memory for many years. After experiencing great loss by losing my two mothers, the poem suddenly came back to me in an instant flash. I realised this field is actually a space of freedom…The Adi Shakta mantra keeps the door open to it and from that discovery music started to pour out...”

Born in Pune and raised in Gavle, Vidya developed her musical prowess at The University of Gothenburg, eventually cultivating a unique style that respected publication Hymn describes as “Genre Free”. This atypical creative journey eventually led to Vidya’s debut album Peace Play, which received a range of complimentary reviews in Swedish music magazines and Dagens Nyheter, the countries biggest and most respected newspaper. Her second album Papillon went on to achieve international acclaim, also being nominated for ‘The Manifest Prize’. Now with Adi Shakti, her very best work to date, Vidya is able to build on a solid foundation with which to gain further global recognition.

Adi Shakti also features the exceptionally creative musicians Rob Luft on guitar, Magnus Bergstrom on bass, Jon Falt on drums and additional vocals from Lisa Rydberg, resulting in an exciting quintet of musicians who’s dynamic synergy very much shines through on the recording. Speaking about working with Vidya, guitarist Rob Luft says: “Co-composing a piece with Vidya and playing on this album was a real pleasure and a privilege. She’s a hugely talented singer-songwriter and I particularly love the way in which she has given each player huge amounts of musical freedom on this record. There’s ample space for master improvisers Jon Fält & Magnus Bergström to create inventive Nordic jazz textures and rocky grooves, and my own musical voice is ever-present from start to finish.”

Vidya hopes that her new work will inspire all those who listen.

Vidya is born in Pune, (India) and grew up in Gävle (Sweden). She is a playful and strongly intuitive singer/pianist/composer/producer. In Vidya’s music the listener get to meet the truth in her voice and a pulsating now. She is a prestigeless musician, guided by a feeling of freedom when singing and playing.. Her music often appears in her dreams... Vidya is educated at the Music University of Gothenburg and her first album Peace Play (2011), received great reviews from several Swedish magazines. Amongst them being Dagens Nyheter - Swedens biggest and most respected newspaper. Her second album The Papillon- (2022) was also very well received and reviewed as, "Satisfying on every level" (All about Jazz) "Genre free” (Hymn) "An original voice in the Swedish music with exciting compositions" (Salt Peanuts) The songs from The papillon has appeared on national, as well as international radio. The Papillon was also nominated for ”The Manifest Prize” which is the independent version of the Swedish Grammis, where she also performed live. Vidya has also collaborated with acoustic bass player Georg Riedel.

VIDYA website click here

Dolomite, the fifth release of Ghezzi’s series Minerals, is a collaboration with acclaimed bassist, vocalist, composer and environmentalist Ruth Goller (International Anthem). Both  linked to the Dolomites mountain range, Ruth and Maddalena reckon with themes around climate change, nature and healing spaces. This is a water journey through a changing landscape.

The EP is written from the perspective of a particle or water embarking into the water cycle and each time witnessing changes in the environment it passes through. Ghezzi and Goller were inspired by the transient element within nature and its constant motion. The Dolomites were once the bottom of the ocean and now they constitute some of the highest mountains in Europe. What seems static to our human viewpoint, like a mountain range, is instead in constant change. This puts into perspective the full human experience and the balance between stability and instability.

Seiser Alm (Alpe di Siusi) is the valley where Ruth grew up and Maddalena spent her summers. The mountains, its forests and its stories have a strong influence on both artists. Maddalena spent the last 10 years doing a sort of secular pilgrimage in memory of her father whose ashes were scattered on Plattkofel (Sasso Piatto). Spending some days each year in altitude, immersed in nature, switching off her phone, walking from hut to hut has allowed Ghezzi to heal and to feel small yet part of the magnitude of nature. This has helped to deal with the concept of death and has raised questions about healing. Being in nature is beneficial to our psyche and body, being in nature alone can be inspirational and help tap into creativity but who has access to that? As women, how do we access remote places? If nature is destroyed, forests are screaming and fresh water is a scarcity, can we heal? Aren’t we just killing ourselves? How do we reckon with this?

The EP is in 4 languages. Ghezzi wrote a poem in English and Italian and Goller translated it in German and Ladino. Italian, Ladino and German are the languages spoken in South Tyrol. After WW1 South Tyrol, prior part of the Austrian Empire, was annexed to Italy and a ruthless Italianization of the area began under the Italian fascist government. In the area all these communities are intertwined not without frictions yet all engulfed in the incredible nature that surrounds them. Singing the same poem in different languages makes it resonate in more directions providing moments of reflections around similarities and differences. Ghezzi is not new to singing in various languages and experimenting with translation. She feels that the strong connection between sounds, languages and meaning has been at the basis of her development as a singer. When Ghezzi asked

Goller how she felt about singing in different languages, Goller replied: “I love to sing in different languages, however I tend to get a bit nervous about pronouncing languages that I don't speak well, as for instance the Ladino. But then I just have to accept that languages are here for communicating and very fluid in themselves. It's ok to make them a bit our own, mixing with others if it feels necessary. Singing something in Ladino for the first time was near to my heart, as it is the culture I am from.”

Throughout the EP Goller experiments both with tuning and different bass sounds. In Jole she explores an unconventional bass tuning to create melodies with harmonics on a different harmonic bed. In “I Fliag” Ruth experiments with a short delay.

In the summer of 2023, Ghezzi recorded the Mediterranean sea in Sicily for Flex and Float, a storm in Val di Dona and a disastrous hail storm in Milan for Volo.Goller and Ghezzi choose to call the tracks: Volo, I fliag and Jole. All meaning “I fly” as it felt organic to them. The track in English is called Flex and Float bringing attention to the motion and constant changeable aspect of water. Water exploitation from the tourist industry has been an issue resident to the valley experience. This has brought Goller and Ghezzi to reckon with our society's priorities and how the accumulation of wealth seems to often be the main concern instead of the balance with nature.

The single Flex and Float is accompanied by an animated collage technique video by art collective Libri Finti Clandestini and photographer and filmmaker Tanguy Bombonera who created a collage video using original photos from the Ghezzi’s family archive. People become containers of nature to symbolise our belonging to the environment.

Dolomite was home recorded

Compositions: Ruth Goller and Maddalena Ghezzi

Production: Ruth Goller and Maddalena Ghezzi

Lyrics: Maddalena Ghezzi

Translation (Italian): Maddalena Ghezzi

Translation (German and Ladino): Ruth Goller

Mix: Pietro Cavassa a.k.a. Anything Pointless

Master: Nick Powell

Released under DēngYuè Records

Video: Libri Finti Clandestini and Tanguy Bombonera

Supported by LaMunt (premium mountain clothing created by women for women) and VAIA (innovative sustainability project)

Photography, makeup and styling: Sara Polonghini

Maddalena Ghezzi website click here

Ruth Goller website click here

New Orleans, Louisiana.  Bold, beautiful, sexy, smart and fun - these words can be used to describe pioneering vocalist Judith Owen and her merry band of New Orleans-based musicians, The Gentlemen Callers.  With an amazing blend of song delivery prowesses and personality delighting fans across the globe, Judith’s new live album “Comes Alive” follows on the heels of her hugely successful 2022 album “Come On & Get It” (over 2.6 Million album streams and more than a million YouTube views). 

“Judith Owen Comes Alive” will be released worldwide in early spring, and features 16 tracks recorded live over a weeklong residency in Bern, Switzerland at the legendary Marians Jazzroom.

Revisiting some of the jewels featured on “Come On & Get It” with brand new live interpretations of Lady Be Good, Teach Me Tonight, Down With Love, Skylark, and Fever to name a few new tracks, Judith once again looks to the music of the unsung “badass” ladies of Jazz and Blues.  

Originally hailing from Wales in the UK but now calling New Orleans home, Owen conceived of the project as a result of her childhood fascination with the Jazz music of some of the so-called “pioneering but oft forgotten women” of the Jazz and Blues world including Julia Lee, Blossom Dearie and Nellie Lutcher - who she discovered hidden on the shelves of her father’s record collection alongside the likes of Oscar Peterson and Jelly Roll Morton. Captivated and enchanted by these “Unapologetic” chanteuses of the 40’s/50’s, who were singing about sex - and enjoying it at a time when women were meant to sing about romance - Owen made it her mission to dig deep and find out more from both a musical and historical perspective. The result is a joyful, uplifting, and empowering project; a throw-back with a fresh feel complete with a look and style that speaks of all those delectable, hugely entertaining women who broke the glass ceiling with their stiletto heels and were ever so proud of it!

Accompanying the release for the new album is a weekly podcast, “Unapologetically Judith Owen.” Owen’s passion for these women and their unapologetic attitudes drives the creation of the podcast. “It simply wasn’t enough to just sing these incredible women’s fierce songs,” she explains. “I had to talk about them, too. Talk and tell EVERYONE how these amazing women changed my life – and how they could change yours, too!”

Unapologetically Judith Owen, produced by Pineapple Audio Production, is a 10-part series filled with discussions on topics ranging from sexual empowerment to the power of saying “no” to the importance of being unapologetic in every aspect of life. Owen is joined by journalist and broadcaster Bibi Lynch, known for her work with the BBC, Soho Radio, and The Guardian, among others, as they delve into the complexities of these pioneering musicians and their enduring influence.

The release of “Judith Owen Comes Alive” will be accompanied by tour dates across the US and Europe including stops in New Orleans at the French Quarter Festival (April 11th, Chickie Wah Wah April 29th, the Historic BK House May 4th, and Snug Harbor May 18th), New York City (Club Django April 13th and The McKittrick April 14th), The Blue Strawberry in St. Louis April 19th, Rudy’s Jazzroom Nashville April 20th, Vibrato in Los Angeles May 16th, Jazz Club Etoile in Paris on June 6th and 8th, the Blue Note in Milan on June 14th, and the Estavayer Festival in Switzerland July 13th, with more dates to be added. 

“One of the most joyful releases of the year” — The Times UK

“An exercise in style” — Rolling Stone

“A joyous homage to some of the trailblazing women from jazz and blues history” — JazzWise

“Every song on the album is a gem delivered with crystal clear intonation by Owen and super musicianship from the band.”  — Jazz Journal

“Bold Female Declarations, Without Apology” — JazzIz

“And how about a little music to set the mood? That's Welsh singer-songwriter Judith Owen, honoring a generation of female jazz musicians on her new album… Judith has made her home in New Orleans for many years, and she assembled some of the city's top talent into the big band that backs her on the album.” —NPR, Weekend Edition

Judith Website click here

“Sounding glorious… Remember that name, Bryony Jarman-Pinto” – Huw Stephens (BBC 6Music)

“A superbly talented singer-songwriter!”  – Tony Minvielle (Jazz FM)

“An elegant blend of soul and downbeat jazz that’s far beyond her years” – Clash Magazine

“Bryony Jarman-Pinto seizes the day” – EARMILK

Purchase here

‘Below Dawn’ is the second studio album by singer, songwriter and musician, Bryony Jarman-Pinto, out 10th May via Tru Thoughts.As it traverses sentimental themes, from societal change and untapped emotions to the profound journey of pregnancy and motherhood, the album exudes an aura of intimacy with harmonious vocals and the infusion of jazz-inspired melodies. ‘Below Dawn’ is a deeply personal and transformative musical journey, the title encapsulates this transition beautifully. “This album speaks about myself just before I gave birth and stepped into a new era so, the name reflects that underlying hidden catalyst” Bryony adds. The album is produced by Ben Lamdin, aka label-mate Nostalgia 77, whose credits include writing and producing for artists such as Jamie Cullum, Alice Russell, and Jeb Loy Nichols.

The focus track, “Deep” blossomed from a vocal improvisation that Bryony took from a Jazz Workshop she ran through lockdown. Now a nocturne, the love song is dedicated to Bryony’s partner at the point that they decided to start a family, beautifully summed up by the line 'we are golden light, about to dawn', linking back to the title of the project.

The early songs of ‘Below Dawn' capture the emotional turmoil of the initial stages of the pandemic. These tracks served as a cathartic release for the tensions and frustrations experienced during lockdown. The album opens with the uplifting, playful “Water Come”, an invitation to cleanse the residual fear, anxiety and ignorance induced by these external factors. As Bryony grapples with the disarray, she finds space to speak up on** “O”** as a therapeutic expression of stifled thoughts that often fall by the wayside. The fluttering chords and bass line were written together with Dwayne Kilvington, recent Nala Sinphero collaborator, to pair with the ever-poetic lyrics that Bryony had been working on. “Leap” continues this conversation with herself and humanity, as she vocalises her observations of activism and gives thought to her own experiences as a mixed-race woman, highlighting that ignorance leads to inaction with the line “Closed eyes won’t see”.

As she became a mother, the themes of Bryony’s songwriting moved closer to home. The second half of ‘Below Dawn’ delves into her inner world, exploring emotions and relationships within her new family. Named after her daughter, “Frida-Rae” exemplifies this raw emotion in the form of a stripped-back lullaby that describes the excitement and endless joy of falling more and more in love each morning with your newborn. Amid these familial reflections, “Station Road” revisits fond, childhood memories as an ode to times spent with her Grandma. The slow, moving keys and rich double bass soundtrack Bryony's warming, nostalgic sentiments which are revisited across the LP.

London-born, Lancaster-based singer, songwriter, and musician Bryony Jarman-Pinto is known forseamlessly blending enchanting vocals and spellbinding jazz-infused melodies with intricately crafted and personal lyrics, with her talent for storytelling. Bryony’s harmonious vocals, layered with jazz, soul and elements of folk, create a melodic sound that has charmed major tastemakers, including Tony Minvielle (Jazz FM), Gilles Peterson, Lauren Laverne, Jamz Supernova (BBC 6 Music), Laurent Garnier (Worldwide FM), Robert Elms (BBC Radio London), John Kennedy (Radio X) and Jeremy Sole (KCRW); receiving praise from EARMILK, Dummy, Clash, The Telegraph, Bandcamp Weekly, and PopMatters.

Since releasing her debut LP, Bryony has been remixed by dego, Wu-Lu, Footshooter, Wonky Logic and Jesse Fischer. She has taken to iconic stages across We Out Here, Love Supreme, Kendal Calling, Brick Lane Jazz Festival, Roundhouse, Ghost Notes, Islington Assembly Hall, Jazz Café, Ronnie Scott’s, Band on The Wall, Late Night Jazz at Royal Albert Hall, Hootananny Brixton and The Hackney Social. She has also supported the legendary Roy Ayers at the Union Chapel and was chosen to perform at BBC Introducing showcase.

Brenda Earle Stokes is a rare jazz artist with a true command of both the voice and the piano. Hailed as “a breezy delight” by Time Out New York, Brenda’s music is rooted in the jazz tradition with influences ranging from Brazilian music to music theater and rock radio.Widely considered to be one of the top singer/pianists in the field, Stokes is back with her first album of completely original songs.

In her latest album ‘Motherhood’, Brenda shares the journey of motherhood with songs exploring identity, fear, expectations, body image, friendship and growth. Rooted in her native language of jazz, Stokes drew additional inspiration from singer-songwriters, music theatre, spoken word and 1960s protest songs. Each song is richly orchestrated by a four-piece ensemble jazz ensemble which provides an energetic backdrop for Stokes’ material which is at once honest, thought provoking and laced with humor.

Brenda Earle Stokes’ musical curiosity has led her to professional work as a choral conductor, classical vocalist, church organist, off Broadway music director, early childhood music teacher and cruise ship piano bar entertainer. These seemingly unrelated musical experiences have helped develop her versatility and fluency as both pianist and vocalist.

“While jazz is my first love, I feel passionate about making music in many different realms.”

Brenda Earle Stokes’ musical life started at age 4, when her parents enrolled her in classical piano lessons. Hearing Oscar Peterson for the first time at age fifteen prompted an immediate shift to jazz. After focusing on jazz piano at York University in Toronto, Brenda ventured to the Banff Center for the Arts for a month-long jazz residency in the mountains. It was there that she first performed as a vocalist, a huge step for her as an artist. “I really wanted to be taken seriously as a jazz pianist and I didn’t want anything to take away from that. When I stood up and sang for the first time at Banff, it felt so liberating to me that I knew there was no going back.”

Buy and Listen here

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Pianist, vocalist, composer, and educator BRENDA EARLE STOKES presents MOTHERHOOD, a collection of ten original compositions that share the journey of motherhood with songs that explore identity, fear, expectations, body image, friendship, and growth. This is Stokes’ sixth album as a leader and follows Solo Sessions (2019), Right About Now (2014), Songs for a New Day (2009), and Happening (2006). Bebop Spoken Here has said, “Stokes is very much her own woman and stamps her individuality on both her singing and her piano playing.” Downbeat Magazine said, “Stokes revs up on eclecticism, centering her jazz improvisation and pop-jazz adventures that shimmer with energetic scatting and her cheery piano.”

Stokes lives and works in New York City and brought to this project some of the A-List players the city has to offer, including bassist EVAN GREGOR (Gary Burton, Dave Liebman, Phil Woods, Bob Dorough, John Fedchock), drummer ROSS PEDERSON (Snarky Puppy, Patti Austin, The Manhattan Transfer), and special guest, renowned trumpeter INGRID JENSEN. Celebrated vocalists MELISSA STYLIANOU and Grammy-winning NICOLE ZURAITIS provide backing vocals. 

A native of Sarnia, Ontario, Canada, Stokes started studying classical piano at the age of four. She became interested in jazz while in high school after hearing Oscar Peterson for the first time. She went on to receive the Oscar Peterson scholarship to study jazz piano at York University in Toronto and benefitted from the mentorship of her idol. After graduating, she spent a few years gigging around Toronto. She started to seriously develop her performance skills when she worked at a piano bar on cruise ships in the Caribbean. She says of the experience, “Taking requests six nights a week for several years was a deep education for me. Not only did I have to learn hundreds of songs, but I also had to learn how to hold an audience’s attention and engage with people.” After earning enough money, she decided to head to New York City, where she planned to study and immerse herself in the jazz scene. She ended up at Manhattan School of Music, where she earned a master’s degree in jazz piano and voice.

Since then, she has become a bandleader and busy accompanist, working with the likes of John Riley, Dick Oatts, Joel Frahm, Roxy Coss, Wycliffe Gordon, Maurice Hines, and the DIVA Jazz Orchestra. She has held residencies at the Kennedy Center and Banff Center for Fine Arts and was a finalist of the Mary Lou Williams Jazz Piano Competition. She also won the IAJE (International Association of Jazz Educators) Sister’s in Jazz competition and was recognized as one of the top emerging jazz artists of her generation.

Stokes is also a well-known music educator and entrepreneur. She runs a busy private studio in New York City serving local students in person and, as an early adopter of online training, she has taught students all around the globe with her website, The Virtual Musician. Stokes’ YouTube channel, Piano and Voice with Brenda, boasts nearly 20,000 subscribers and over 55,000 hours of viewers per month.

 Although the music on MOTHERHOOD is rooted in jazz, Stokes drew additional inspiration from singer-songwriters, musical theater, spoken word and 1960s protest songs. Stokes shares the rich tapestry of a mother’s experience, both celebrating the experience of mothering while also being truthful about the challenges that modern mothers face. She describes what it’s like to live in a world of intense stress and fear, combined with the dangers and toxicity of social media, financial insecurity, gun culture, and the pressure to navigate all of these issues while also appearing thin and youthful.

Stokes sings about these ideas in her song “Kathleen” and explores them in greater detail in the eight-minute spoken word performance “Sharp Edges,” with bluesy accompaniment featuring Jensen on trumpet.

In “The Endless Wait,” Stokes ponders the identity of the child she carries, and ruminates on how they are connected to ancestors both known and unknown. On “Who Am I Now?,” Stokes examines how one’s identity changes when a child comes into your life and ponders whether she is equipped for the challenge of motherhood.

On “Where Are the Mothers?,” she realizes that she and her close mom-friend have hundreds of photos of their children but almost none of themselves. She thinks about the fact that the shame surrounding a mother’s changing body can cause her to hide, and in time, she literally disappears from the picture. Stokes discovered that her son couldn’t remember most of his early childhood, and in “This is Your Childhood,” sings about her epiphany that maybe his childhood really belongs to both of them. In “Loose Tooth Blues,” she shares the unique and often humorous perspective that a mother has as she views the world through her child’s eyes.

“Saying Goodbye” is about the bittersweet feeling of watching your child grow up before your eyes all too quickly and knowing that one day, they will inevitably grow up and leave. Rounding out the project are “The Strength of a Woman,” a gospel-influenced anthem that honors the courage and perseverance of everyday women, and “Happy Mother’s Day,” a “calling in” song that celebrates the struggle, the revelry, and the adventures that are part of the lives of mothers everywhere.

Stokes’ expressive and flexible voice is the perfect vehicle for these songs that tell tales that are poignant and hopeful, yet bittersweet and sometimes disheartening, but so very familiar to many women. Grounded in jazz but imbued with elements of pop and musical theater, MOTHERHOOD is a deeply felt, unique take on the ups and downs of raising a child from a woman’s point of view.

MOTHERHOOD was released on May 10, 2024 and is available at Bandcamp and on all streaming platforms. Click here to purchase

Click here to visit Brenda’s website