As a society, we should encourage young girls and boys who are interested in music to pursue it and stick with it by ensuring a safe, sup- portive and fun environment.
Looking to the world of sports, the documentary The Battle of the Sexes does a great job of chronicling the ways Billie Jean King fought for equality for female tennis players in the s. People listened to King not only because she was thoughtful and charismatic, but also because she was such a tremendous athlete. These are some of the greatest musicians working today. And they all have stories to tell about the ways in which women are subjected to harassment and discrimination.
Numerous important themes emerged during the panel discussion, including that men must hold other men accountable for inappropriate behavior. We hope that this article will extend constructive dialogue among musicians and educators about the ways in which equality and equity can be achieved in the music business. We need to ensure that the beauti- ful democracy that we often witness on the bandstand with women and men harmonizing extends to life off the bandstand.
Let us know what you think by sending an email to editor downbeat. Elsewhere in that issue, your critic J. Remember: Jazz began as dance music. Love for Lloyd Jazz legend Charles Lloyd will be cele- brating his 80th birthday with a series of four shows at the Dakota in Minneapolis.
GARY R. Have a Chord or Discord? Email us at editor downbeat. And why not? The Dominican native released his first solo album— the appropriately titled Solo Telarc —in In the years that followed, he gained notice for the prodigious pianism he displayed in the format. Extensive solo touring followed, garnering more accolades. Now, Camilo, 63, has documented a highlight of those tours in his first concert release, Live In London Redondo Music.
The material Camilo works with is dense with references to his past and wrought with emotion. He has written gram, echoing as it does a dynamic collaboration between Camilo and three concertos, the first two of which have been performed a total of more Dizzy Gillespie on the Gillespie-penned tune at a Dominican jazz festival than times. Horn Makes European Debut Dylan covers that span his compositions between and Steve ing his index and middle fingers.
About he delivered a series of rhythmically perspi- souls. Following a set by Bolognese tenor saxo- 37, people are expected to attend cacious, harmonically sophisticated, melod- phonist Piero Odorici, Philadelphia-born bass- the festivities. Odorici elaborated a personal style a fall. Coltrane and Shorter, but George Coleman as who died on Dec.
After about 40 minutes, trombonist Andre have been either 85 or She started with showed their fluent, virtuosic command of the a rather mannered statement of the lyric over a global language of jazz. Resonance works with active artists such as. George Klabin, the many titles, yet it had never been legally released cial release that pays all the royalties.
The previous issues were taped The music on In Paris is impressive. As a result, Resonance Records right- nying him: year-old pianist Harold Mabern, of Wes playing small clubs in Indiana before he fully proclaims that its two-disc set In Paris: The bassist Arthur Harper, drummer Jimmy released his debut album.
It was so good I knew Definitive ORTF Recording is the first official Lovelace and, on three tunes, tenor saxophon- we had to put it out, but first I had to reach out to release of the music. The Paris program fea- wanted the record company to care. Graves, as well as Super 8 footage of the drum- Stateside screenings are being planned.
And as the Northeast hosts a bevy of experimental improvisers, he was able to catch Graves performing at a nearby university. Graves, who worked at the Vermont school for 39 years, said yes, and Meginsky landed a gig up there to be closer to his mentor. And the percussionist recalls garnering a bit of attention pretty early on. They made me realize that maybe I had something.
And to the filmmak- er, Full Mantis is a primary document, culled from more than a decade of knowing Graves. Graves, though, came to the conclusion that most mar- tial arts masters study directly from nature. OLE EKKER Presence Danish saxophonist Mette Rasmussen has emerged as one of the more exciting, viscer- al and explosive musicians in Europe, a play- er with untapped reserves of energy and an evolving ability to channel aggression into beautifully arranged statements.
Rasmussen first discovered free impro- visation accidentally. A couple of years later she walked into the wrong practice room at school and encountered a sonic world that was all new to her. It was a state of mind. I was instantly aware that I had found what I had been searching for, or, part of it, when I started playing impro- vised music. Still, the pieces penned by Mats Gustafsson in Fire!
Sometimes the connection is very isolated, always with a connecting flight be- immediate and sometimes you have to fore I am home, but on another level there fight for it, depending on the setting. I used to reflect on the term home, outside of her particular milieu. I would like to Pitch.
There Johan Berthing. This past year she chan- is no real reason not to, just that it seems neled a dizzying intensity that inventively easier not to—but being present only rein- side-stepped just about any trace of free- forces itself. Wracking his Motown Records. Did it mean I was rich? But I power to transcend genre. So he worked up an arrange- Broadway show. The party trick has become, if ment and hired Miche Braden, the stage star of not an empire, at least a small kingdom.
On its second album, bring a lot of components of their own culture with them. When they find Graft, the band takes things a step further, making the movement of peo- a place to stay and live, what they brought with them gets in contact with ple and mixing of cultures a central theme.
They mix, and something new will come to life. These things are in constant evolution beautiful. Brown, who had been a founding member of the band, to explore issues of identity, migra- tion and cultural change. They knew what the record was about. For us it was just a natural part of our experience to make jazz in that way.
Known for his resonant bari- albums, Mahogany showcased his musical range on his own Mahogany Music label. He signed a con- tract with Enja and released Double Rainbow, his leader debut, in After two more albums for Enja, Mahogany signed with Warner Bros. Soon Mahogany was touring the U. S and Europe on a regular basis. Always a seek- er, the open-minded Rudd placed his bold- toned, expressive trombone into a variety of Roswell Rudd — world-music settings during his later years.
Born in Sharon, Connecticut, on Nov. He had a jazz epiphany at trumpeter Enrico Rava and Dutch drummer age 15 when he saw Louis Armstrong perform Han Bennink and also recorded frequently with between films at a local movie house. Carla Bley. Their self-titled debut album was released Reunion.
The following year, he reunited with on Columbia Records in Rudd continued Hot, released under the auspices of Gil Evans. From tohe co-led a quartet laboration with Puerto Rican cuatro player with saxophonist Steve Lacy that focused exclu- Yomo Toro.
Trombone Tribe, was his answer to J. His equally eclectic offer- and Mama Too Tight Coca-Cola on Nov. V erneri Pohjola has run out of patience. I feel really good about the future now home visiting from school. He was also playing percussion and singing. There was nothing fancy about the trumpet solos. He very quickly became the essence of the the trumpet like this, but now I knew this is what with one of his longtime colleagues, drummer jazz trumpet sound for me.
Also, enough to let me find my way and nudge me in the vised album. His Gnu High album is one of right direction in self-educating, too. But Miles Davis has become the Pohjola started garnering attention with his start playing and just let the music flow. Inhe won the ing title Outside has been planned. It will include On the road to becoming a thriving profes- prestigious Teosto Award for best original com- music the duo recorded for a short film, also titled sional, Pohjola hit a few potholes.
We fit well together. The brothers disc, Mano a Mano, Vol. The album captures the broth- and off during those years. Showcasing a mix- While both have their own discographies as ture of standards, Brazilian tunes and originals, leaders, when they join forces, they are Mano the disc also featured the brothers sometimes a Mano which in Portuguese roughly trans- playing with an accompanying ensemble. During that time, he spent two grounded in straightahead jazz. In addition a couple of years ago.
He loved the Big ing every game because he was more rational in Apple, but not enough to relocate there. Building on the momen- has to be clear. Bruno said. This intergenerational aggregation consists of longtime Perowsky colleagues, as well as some younger associates.
That was super-thrilling. I was there the night he brought in Lee Morgan and. And to have our CD release hometown. But of course, he was unbelievable. So that was really an eye-opener for me. You could walk in at midnight, sit in the peanut gallery and hear two full sets of two bands for a buck-seventy-five. Forty years later.
All were quirky and evening, in his element. Now, ly bass line. Each song has a charac- Side restaurant. In an event. If I stop playing, it becomes an event. In conceiving the album, Lage said he was the full trio. We defi- medium tempo. At Zankel Hall, it became a that way or to smile—all the things that are my nitely did that deliberately. But for all his Chester plays keys on six.
Running just if transient, interest in writing for the cinema. Beyond their compatibility, the two musi- cians bonded over shared personal experienc- es. Hersch, who regained his ability to play after falling ill nearly a decade ago, recommended that Lage see his former teacher, the late pianist Sophia Rosoff, after the guitarist injured his left hand in But he continued writing and, after consult- ing doctors and other guitarists, recovered his playing form, releasing the acoustic album in Living in a blended fam- ily with five children headed by a father who was a visual artist and a mother who impart- ed Buddhist concepts, he was surrounded by objects and ideas that appealed to the senses.
That milieu, he said, had a profound effect on his artistic development. The big issue was more rhythmic. That solos. Lionel, describe your experience at that initial meeting. LL: I was nervous. So, I put a little structure on it. When we recorded it in the studio, music for, led and performed with more top-notch bands than Chick we went over little sections I wrote, and then we threw it down once.
L 18 minutes. Apart from your work with Last February, before the group had played pub- stantly trying to raise the bar. Note All-Stars. Quintero percussion —to record the album. It brings a whole other layer of try to keep it fresh and learn something.
As I Sept. Then the For the first set on Sept. The two icons remained fully engaged started listening to his solo records. I have an African Flower - Conrad Herwig relationship with I played stick percussion and hand percus- the following day.
Both keyboard and guitar are sion. I was a dancer; I played a lot of tradition- cal ideas to mind. I lead the al music. Lionel came to my so interested to learn jazz. Every day is different. Everything is here. What is the imagination? You remember a certain line or sound like a talking drum. That came from a free improvisa- to my foot to change the pitch. Fortunately or unfortunately, when an playing with a pick, and I thought playing with ing with Bird inwhen I was 6.
My dad audience hears a group freely improvise with- fingers would give me more polyrhythm. Silver, or with Monk and Milt Jackson, I saw like to leave the audience wondering. If CC: So you have four picks instead of one. The New York collects all the musicians of the world, The Experiments in Electronica group also addressed the range of stuff that Lionel gets is one of the Miles collected all these special musicians. So, intersection of technology and music, just as Lionel has amazing things about his performance.
In my senior year, I went to one-third whammy pedal. This is a drum-oriented band, incorporating of the classes. Lionel is from West Africa, Lionel, did you listen to a lot of records in Benin? But I was really into guitar players. Somebody nique used to produce the effect.
The Cubans around Mongo in ever I was hearing. I had no connection about harmony. I felt Cuban. But we is. I connected musically LL: Music is sound. Sounds develop through the and spiritually with all the different musicians. CC: Who were you listening to? If you have only one as a microcosm of the planet. All the cultures LL: Wes [Montgomery]. Tal Farlow. Kenny sound, no problem.
But when you have many come here and mix. The city sort of represents Burrell. Barney Kessel, Johnny Smith. In my mind, jazz is a spirit of creativity.
As was playing or what the tunes were. Creative music hap- ent bands. Back inyou played there for eight weeks the max with this band. CC: I see that great art is made when the artist is Lionel, you had years of formal study before entering the free to try whatever techniques he wants, and fray as a professional musician.
How did arriving in New CC: I like that way of making music, having no combine things any way he wants. That makes York affect you? The more people life interesting. I try to live that way as best I involved, the trickier it gets. I would like others LL: I thought I was prepared. We were just fooling around. Chick has written things that will stay with LL: The way you live comes out through the people forever. That understanding. At first, they as an encore, and as soon as we start the mel- who I am.
It was a beautiful afternoon at the Monterey Jazz This Monterey panel discussion can be viewed as an Festival when a panel convened to discuss some ugly sub- important element in an ongoing, global discussion about jects: manipulation, misogyny and sexism in and out of the ways that women are seeking equality and equity in aca- the classroom and on and off the bandstand.
Moderated demia, in the music business—and in all professions. DownBeat transcribed this histor- ophonist Tia Fuller, trumpeter Ingrid Jensen, bassist Linda ic conversation and is proud to present edited excerpts below. Ingrid Jensen Tia Fuller. By Frank Alkyer. Sean when I was young. I never wanted to participate just necessarily at school—is African Flower - Conrad Herwig power dynam- Jones. I ic between, in particular but not exclusive to, at Berklee College of Music.
Anything to scrutiny or being alienated, and a lot of times ever let that fall out of your mouth again. There have been to be the first guest artist at Berklee after [Jones] As I get older and start to teach more female a lot of accounts that I experienced this sum- got the job three years ago. What better way to students, I notice sometimes subtle things and mer where women are in a lot of pain.
These are make a strong statement? And I realize year-old, year-old women and the things that those things need to be called out. I just got a letter from a students and not giving them the sort of educa- father, and I was crying [while] reading it. He had just lost his wife and he not only a musician but also a mom of two kids.
But the question do you be a musician and tour and teach and ing them their best as a teacher. Even with women dealing with there about certain people who are supposed to and then just getting up and doing what I do.
It was with Diane Reeves. It can be done. It was like ning around trying to make all these schools that when I was in middle school, high school shiny again. But and college bands. And those bad people have to go. We need to let them know that it creepy. They want to see them be confident and can be possible. Everywhere we go, we always have young, what brought me into it.
I heard Clark Terry also an artist. How do you make it work? So, we get inspired by each other. We ed off as a program coordinator working for have to talk about these things. It is changing the scene. People are So, because Suz came up, and she had mentors, drop out [of music].
She took the time to give, to feed me. Peterson [laughter]. I saw in some classrooms and some of my. I make sure I hire men and women. Do Sometimes, in the moment, there are reasons you remember [that incident], Linda? But I think if we continue to have conversations about what OH: Yeah, it was a combination of sexism and might done, then maybe just planting that small racism.
Ingrid, could you with us. And this guy came up after one of my top. He So, this is how we counter it. We equip our- meant it from the aura and the energy coming selves with these comebacks and be ready. So from the music and the sound. I was tle less uptight and a little more respectful all at teaching at a school, a very prestigious jazz the same time. It was very awkward.
There are so many times when and showing them stuff that they were kind of somebody will say something, just off the cuff. Just a couple of months ago, Mimi Jones—a But this one guy got so uncomfortable. It was just amazing. Mimi is warm- much good parenting and good mentoring. So, ing up on bass. I have to ed to this bass.
Tia Fuller? She plays piano. And he make it work. So also presents live jazz. Now, he sees it. In many feel about where we are socially and politically. While liv- in the modern hard-bop vernacular. On ballads, though, Country Day School, a private school in which he caresses melodies with sensual tenderness. As a teenager, attending the forefront of the avant-garde scene.
On its eponymous Sunnyside sionate, with hardly a trace of superfluous sen- disc, the collective offered blistering origi- timentality. Tall and blessed with chiseled, Andy LaVerne - Shades Of Light (CD paying homage to former U. President fashion-model looks, he exudes the professo- Barack Obama, scholar W. Du Bois, wom- rial elegance of Max Roach. The mem- West Indian heritage and being raised by a bers formed the collective after several dis- strict mother. So, that culture of being proper, product of the BAM movement, but that move- of being polite and of being strict is very much ment was in our minds.
We just wanted a band. I struggled Escoffery said. They ships. And with current acclaim centered on sax- er during their earlier years together in London.
In addition to soul music, his mother played he said. A mid the holiday revelers staring at the Ride On The Elephant Slide is a snarling and sidewalks of Hollywood Boulevard in puckish swell of brass and thunderclaps that late December, violinist and composer is a world away from the showbiz spectacles Lauren Elizabeth Baba sticks out.
Her big shock that help to pay her rent. Citing influences as of curly hair shrouds eyes unimpressed by the wide-ranging as Mahler, Ellington and Ornette gritty tourism of the Entertainment Capital of Coleman, she has quickly found a voice that the World. And rightly so.
Baba was raised in rumbles toward a quirky, avant-garde future. A lot of notebooks and high- Inin-between string-section gigs at lighters. And I love it. She immersed herself Containing six of her compositions, Another in big band music and learned the intricacies of.
And a jazz charge of. And a violin player in the jazz world. Through CalArts, Baba began picking up And a composer. All of these things were blos- local gigs, performing in string sections with soming into reality.
I wrote that piece to encap- pop musicians like Inara George and Sharon sulate this struggle. A combination of union work, occasion- gle but a necessary thing you have to do. InBaba gathered 17 friends to record. Pianist Steve Blum subdues the orchestra, help- The big band recorded half a dozen tracks live in ing to connect the dots between movements.
Those original songs swarm Baba is not channeling the swing-a-ling sounds with cheek and seriousness, sometimes within of traditional big band jazz but a darker, churn- a single measure. Baba stoically drives her com- ing momentum.
And characters like Sellers are positions straight into the storm, engulfed by a strong presences on the album. Baba welcomes these risks from her and rehearsal organizer. I was raised creatively to express your- bers. She sees er once it takes off. Really push it. For Min, that moment has arrived at last. Now in her mids, she feels she has proven her affinity for Monk—and her facility as an impro- viser—nearly two decades after her introduction to his music.
Accounting for the gap was a debilitating bout with cancer—she says it is now mostly in remission—and a surgery in that prevented her from playing the pipa for a year. Min considered giving up music altogether during that time. She had found recognition as a pipa player touring with chamber operas and the- ater groups, and her release of Spring, River, Flower, Moon, Night—a traditional pipa record on the now-defunct label Asphodel—had sold thousands of copies and made her thousands in royalties.
There were some bright spots, though. So, after her surgery, Min decided that rather than abandoning the pipa she would slow down and devote herself to the music she loved: jazz. Enter Festival International de Musique Actuelle de Victoriaville, which became one of the most significant forums for avant-garde music and generally left- or experimental-leaning work in North America. At the outset, Levasseur was inspired by role models like avant-guitar- involves an individual relationship with the musician.
As with most labels, though, the realities of music coming to the festival, and also to make the festival better known. He has also released know.
There is a strong historical aspect to this label that makes ic—early indespite not having a record label lined up to release it. Other generations can go back to those record- for a grant to make a project.
He is inventory of 35, items. Sections also grew from Frink exercises that virtuosos like Ralph Alessi and Ambrose Akinmusired share in a Dropbox folder. Part performance art, the musicians all turn their heads at once while a single pitch is taken up one instrument at a time, the note zigzagging through the ensemble. Hollenbeck usu- seeming drive to ascend to the stars through glockenspiel; Theo Bleckmann, vocals; JC Sanford, conductor. Ordering info: newamrecords.
He brings with him Cuban collaborator and drummer Ernesto Simpson, perhaps as a kind of comforting secu- rity blanket amid all the Teutonic proficiency of the NDR crew. The music here favors restraint over rau- cousness, space over density.
Some good world This Cuban cocktail mixes eight works of pia- music from a band of worldly players. The volume rises Personnel: Omar Sosa, piano, vibraphone, percussion; Thorsten as the elements accrue—so, presumably, should a. Ordering info: melodia. Shearing also lead voice. Approaching an entire Coltrane search for expression. Like much reverberant minor arpeggios to connote some- Rodney Jordan adds a layer of historical depth of the album, it sounds overly studied and thing adjacent to melancholy or dread.
But the by quoting from guitarist Robert Johnson in restrained. High concept replacing high art. Overall, the trio fares best when it con- —James Hale vinced. So, I congratulate him on the thorny intrigue of these concert pieces. I kept looking for the burn, but found mostly low simmer. It makes for pleasant—maybe even sensual—listening. This sincere tribute searches for new meaning in the landmark suite. He treats these tunes as post-bop fodder more Andy LaVerne - Shades Of Light (CD sacred texts, but the result is satisfying.
This album has the quiet glow of an after-par- ty, with musicians relaxing into themselves and letting the real event unfold. Less is less. And this is too much of less. On a crowded dance floor, it might prove transforming. As a jazz trio, it just puts you in a trance. Although Ribot has roots in the organ trio format, having put in time with Brother Jack McDuff, the more obvious analogue here would be the Tony Williams Lifetime, as Lewis, Ribot and drum- mer Jeremy Bean Clemons are more inter- ested in sonic distortion and melodic decon- struction than in funky soul-jazz licks.
Gregory Lewis Even when the tunes are played straight, Dr. Lonnie Smith is back with more soul-jazz much what it sounds like: Thelonious Monk ferent direction.
However they deliver them, grooves and consciousness-expanding jams. Not just any quartet, however; drummer Joe Dyson providing the percolat- the ideal fourth member is someone tempo- ing undertow.
A swinging, highly interactive before recording its first album, Vesper, with ly. Considine the ageless doctor. Olatuja, vocals 6. He also has a license to explore whatever styles he wants. And here, Thile essentially has chosen to make a pop record. His prodigious instrumental skills rarely are foregrounded, instead casually inserted.
Ordering info: nonesuch. Jeff Parker guitar and John Herndon language. The improvi- instead using his bass-baritone voice for incan- leading his Acoustic Unity trio. This essential release is a must-listen. By Lakhavinor Enviar por e-mail Postar no blog! Sarah Ignacio 8 de agosto de Tetval 25 de fevereiro de First Blossom Dearie and her husband Bobby Jaspar. All details in our program! Wednesday, May 27, Dutch Toppyjazz part 6 Toppyjazz This week we overlook 9 new musicians at Toppyjazz Radio Show.
First an excellent singer and songwriter : Lisa Kirchner from Los Angeles Second Dina Blade from Seattle. According to the site "Allaboutjazz. So she's far out the oldest musician who ever lived! But looks a better date. Next month much more from Alexis on Toppyjazz. That's for this week Toppyjazz!
Download of the volume later next week, we're on a trip in the middle of Germany. Every year in the first week of Mai we look back to the past war years.
Have Fun! We present the third new album from Blue Canoe Records this yearthis time by gitarist Trey Wright. More details on www. We chose 2 tracks from her album Almost Blue.
Fantastic debut album for Betty Delight. We're delighted also! Perhaps Jacky has to work on the percussion and drums. A little loud for this sessions. Great opportunity to hear Lisa with some tracks from her new great cd Horizons. We give you Moon River and Surfer Blues! For us a fine HOT album. Toppyjazz brings you this week the music of Don Elliott some years the most populair musician of the USA. Also Diane Hubka and Gloria Lynne Location: Bad Bentheim, Duitsland.
Wednesday, April 15, Dutch Toppyjazz part 5 Toppyjazz Cafe Solo is another fine cd by Benjamin Herman alt sax. Wednesday, April 1, April Jazz Toppyjazz This week on Toppyjazz on the start of April only "April" music. His great new album is titled Magisteria with all songs composed by Ron himself. We give you two selections of this new album. For more goto www. Wednesday, March 25, Spring on Toppyjazz Toppyjazz We finish with my friend Patrick Knowles from Spain.
Thursday, March 19, Again Linda Kosut! This week we have on Wednesday Dutch Elections no chinese joke!! On Thursday we repeat our show from last December with Linda Kosut. For the second time we have the honour to speak with San Francisco singer Linda Kosut. We talk about her past and the Johnny Green project. The whole interview in English will be available after the radio show.
Playlist : Interview part 1 : Who is Linda Kosut? What did you Album) the last years besides your new album? Why do you choose johnny Green?
In Europe Johnny is hardly known. We only know "Body and Soul" and " Out of Nowhere". Interview part 4 : How is the music scene today? What is your opinion? Interview part 5. Thankyou Linda Kosut for this interview. Labels: Linda Kosut. Wednesday, March 4, Toppyjazz Quatro 1 Toppyjazz This is a very fine singer, listen to her version of The Summer knows! Third part the singer from South Africa Ike Moriz.
Ike is born in Hamburg Germany, but lives most of the time in Capetown. We close our show with Liane Carroll London-England. But in the US only 1 star! We air some songs but think Liane hasn't got the meaning of some songs. But Liane sings it as a very happy song. Next time better Liane! This is the first of a series from about 10 volumes about the greatest jazz guitar players.
Volume is the same as the series The Jazz Guitar from We close with the Toppyjazz choice of the best guitarists from Europe. You will find ONE volume each month from now one. You may download the whole serie from our server later on this year.
Neil Perry (2) / Kaospilot - Neil Perry / Kaospilot (Vinyl), Retrospectively Yours - David Chesworth Ensemble - Badlands (CD, Album), Africa We Want To Go - Various - Reggae Sunsplash Vol. 1 (CD), Serenade From String Quartet In F, Op 3, No. 5 - Louis Clark Conducting The Royal Philharmonic Orche, Mars (The Bringer Of Techno) - Technoclassix - "Never Mind The Beethoven..." - Volume 1 (C, In The Streets, I Love You Just The Same - Number Nine ( Paul Ansell ) - Smokin Country Rockin Blues (Vinyl, Album), Twist Of Fate - Akikaze - Blue Sky Events (CDr, Album), Pitch To Voltage - Brian Eno + David Byrne - My Life In The Bush Of Ghosts (CD, Album), Step 5 - N.O.M* - From Life To Light (File, Album), Gotta Get To Mobile - Alan Cassaro - Gotta Get To Mobile / Song Of A Fool (Vinyl), Placca - Naturalismo - Undici Anni (File, MP3), Roller Coaster - No Artist - Sampler (Cassette), Ill Take Care Of You - War - The Music Band 2 (Vinyl, LP, Album), Always Be Together - Little Mix - DNA (CD, Album)