1.    Speak To Us Of Love 5:14
2.    I've Known Rivers 5:27
3.    In The Beginning God 7:36
4.    Love Is Forever 3:29
5.    Little Africa (Feat. Djamel Laroussi) 4:09
6.    Algeriangeles 3:51
7.    Hyku For Peace/Come Ye 5:31
8.    It's All About Love 5:18
9.    Ooh Child 7:17

Arranged By, Producer – Dwight Trible
Backing Vocals – Dexter Story (tracks: 3.8.9), Dwight Trible (tracks: 3,4)
Bass – Trevor Ware (tracks: 1,2,3,4,7,8,9)
Cello – Peter Jacobson (tracks: 9)
Djembe – Munyungo Jackson (tracks: 6)
Drums – Dexter Story (tracks: 1,2,3,4,7,8,9)
Electric Piano – John Beasley (tracks: 2,7)
Flute – Justo Almario (tracks: 8)
Guitar – Dexter Story (tracks: 8,9), Djamel Laroussi (tracks: 6)
Kalimba – Dwight Trible (tracks: 1)
Organ – John Beasley (tracks: 4,8,9), Kenneth Crouch (tracks: 3)
Percussion – Djamel Laroussi (tracks: 6), Dwight Trible (tracks: 3), Munyungo Jackson (tracks: 1,2,4,6)
Piano – John Beasley (tracks: 1,3,4,5,8,9)
Tenor Saxophone – George Harper (tracks: 4), Justo Almario (tracks: 7)
Vocals – Djamel Laroussi (tracks: 6), Dwight Trible

With Cosmic the theme is love and from the opening track Speak To Us Of Love which Dwight says “was inspired by the text on love from the famous Kahlil Gibran book The Prophet" right through the closing track, Dwight's own treatment of the 60's soul classic Ooh Child sung here “because it is a song of hope" the spirit of love is continuously present!

With his first influence being his mother, also a singer and later jazz greats Nina Simone, Betty Carter and Carmen McRae. The Los Angeles based artist has performed with masters like Charles Lloyd, Bobby Hutcherson, Harry Belafonte and Norman Connors, collaborations with poet Kamau Daaood, drummer Billy Higgins and Horace Tapscott and has been the vocalist with the Pharoah Sanders Quartet as well as leader of the Dwight Trible Ensemble.

This diverse collection of collaborators may have led to jazz music's most unique vocalist assembling a very diverse group of the music's best for this 9 tune set of the best in progressive jazz.

Along with Trevor Ware bass and co- producer Dextor Story drums, both present on Dwight's last release the highly acclaimed Living Water is Grammy nominated pianist John Beasley who sweeps, swings and soars through out whether on acoustic or Fender Rhodes piano as on I've Know Rivers where his playing is present, tender and inventive and lays a awesome foundation for Trible's souling vocal.

There are plenty of musical highlights as when the group goes into full swing mode at it's highest level on Duke Ellington's In The beginning God led by the roar of Dwight's vocal, and here the organ of Kenneth Couch is just present enough to “give the inference of church" and Dwight continues “I think Duke would have liked it played like this."

Another gem among many on Cosmic is Algeriangles with Munyungo Jackson also a member of the Living Water CD cast of musicians on percussion and Djamel Laroussi vocals and percussion who is from Algeria. Dwight reflects “this is a great intertwining of the 2 cultures blended together creating something exciting and new." Very well stated indeed, as Dwight delivers again something new in progressive jazz!

Whether its the duet Little Africa with vocals and piano that leaves so much room for the subtleness of the vocal to shine through, or the bluesy Hyku For Peace/Come Ye featuring the tenor sax of Justo Almario and as Dwight says here “there are many different elements creating a new sound" there is one thing for sure with Dwight Trible's Cosmic CD as he testifies on track 8, Its All About Love. ---Outhouse PR, allaboutjazz.com

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1 	Wise One 	4:33
2 	John Coltrane 	9:17
3 	Ishmael 	6:49
4 	Footprints 	6:38
5 	Celestial Blues 	7:57
6 	Little Sunflower 	8:01
7 	Africa 	6:40
8 	Wild Is The Wind 	5:43
9 	Peace 	2:37

Dwight Trible - Kalimba, Percussion, Synthesizer, Vocals
Gyedu-Blay Ambolley - Vocals (Background)
Daniel Doom Bejarano - Drums
Nikia Billingslea - Vocals (Background)
Harold Burr - Vocals (Background)
Cyril Carr - Flute
Kamau Daaood - Poetry
Munyungo Jackson - Percussion
Adrian Jefferson - Congas
Donald Lambert - Bass
Harold Land - Piano
Charles Owens II - Sax (Soprano)
John Rangel - Piano
Derf Reklaw-Raheem - Congas
Adam Rudolph - Percussion
Joshua Spiegelman - Bamboo Flute, Flute
Dexter Story - Vocals (Background)
Waberi "Dawn Jordan" - Vocals (Background)
Trevor Ware - Bass
Bobby West - Fender Rhodes, Piano, Synthesizer
Jon Williams - Trumpet, Vocals (Background)

Dwight Trible is a preacher, turning any material into a song of praise. Trible taps into the tradition of assigning lyrics to existing jazz standards, aligning himself with King Pleasure, Jon Hendricks, and Eddie Jefferson. He stands firmly in the jazz singer’s domain of delivering a song true to its story while composing variations on the tune as he goes.

On Trible’s new collection he arranges, produces, and writes lyrics to melodically and rhythmically challenging compositions. Take for instance the opener, Coltrane’s “Wise One.” Given a portentous send off with John Rangel’s deep chords, Trible’s elastic baritone maneuvers through the modulations on words he honed to fit the tune and the recording's main philosophical device.

Like a shaman at the center of a storm, Trible’s surrounded by the swirling music of his band. John Rangel brings the tempest to ground, doubling bassist Trevor Ware’s line on Bill Lee’s “John Coltrane.” Joshua Spiegelman plays an exotic flute with Derf Reklaw’s easy congas, brightened up with Trible’s kalimba. Joining vocalists Waberi and Jon Williams in a tightly written vocal arrangement, Trible creates a delicious chorus on lines like “prophet with a loving heart of gold.” He takes athletic improvisations with the melody before turning it over to Spiegelman and ladder climbing Harold Land, Jr. on piano, then the ensemble assembles in tiers that cascade like a round.

Ware’s fat bass strings bring Abdullah Ibrahim’s “Ishmael” into being, quickly joined on percussion by Adam Rudolph. Trible lays out some falsetto before singing a wordless chorus with Waberi and Williams, joined by Charles Owens on soprano sax. Ware drives the piece with drummer Daniel Bejarano spacious on mallets. Trible sings an impassioned take on the melody followed by Owen’s warm soprano. Rudolph uses shakers and rattles for ambiance, while Rangel adds subtle color. Wayne Shorter’s “Footprints” has Bobby West using a light touch on piano, and shading with synth chorus. West digs in for a sinewy solo.

Using Abby Lincoln’s lyrics, Trible takes on Coltrane’s “Africa,” with a powerful production that includes poet Kamau Daaood. Ware keeps connected to the original with drummers Bejarano, Reklaw, and Munyungo Jackson slapping skins. With bamboo flute, Spiegelman ornaments Trible’s cry to the motherland. Poet Daaood recites his vision of hope called “The Living Waters,” his sonorous voice buoyed by the drummers. With a church bell as intro, Trible completes the set with an acapella liturgical plea for peace.

A lush tropical feel pervades the disc, making it warmly sensual in its presentation of the sacred. As with any Dwight Trible project, the mind is refreshed, the heart expanded, the soul enlightened, and the ears licked. ---Rex Butters, allaboutjazz.com

Originally a limited-edition release, Living Water is now poised to receive its long-overdue credit. From the first notes of the inspirational "Wise One" to the emotive pleading on "Peace," Trible's gift of gab is poignant and breathtaking. And that's just the acapella tracks; his talented jazz trio (along with other guests) compliments the producer's harmonious energy. In these mad times, Dwight Trible is an enlightening presence whose songs of humanity say plenty about us all. --- xlr8r.com

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1. What the World Needs Now Is Love (feat. Matthew Halsall)
2. Tryin' Times (feat. Matthew Halsall)
3. Feeling Good
4. I Love Paris (feat. Matthew Halsall)
5. Heaven & Hell
6. Dear Lord (feat. Matthew Halsall)
7. Black Is the Colour of My True Love's Hair (feat. Matthew Halsall)
8. Deep River (feat. Matthew Halsall)

Dwight Trible - vocals
Matthew Halsall - trumpet
Taz Modi - piano
Gavin Barras - bass
Jon Scott - drums
Luke Flowers - drums (track 3)
Rachel Gladwin – harp

Having worked with the likes of the Pharoah Sanders Quartet and Kamasi Washington the musical fit between Los Angeles native Dwight Trible and Manchester's Gondwana records should be self- evident. This album was conceived as a combination of joint favourites and spiritual jazz classics chosen by Trible and Gondwana label boss Matthew Halsall, after a couple of chance festival encounters and live guest spots. The band includes not only Halsall's own beautiful trumpet playing, but also several of Halsall's trusted musical fellow travellers from the memorable Gondwana Orchestra albums of recent years such as Taz Modi on piano, Rachel Gladwin on harp and the near ever-present Gavin Barras on bass.

While these musicians' presence means that the Gondwana "house sound" is on point there is no getting away from the fact that an entirely vocal album represents something of a departure for the label. Why the collaboration works is down to the common ground in the spirit of love and humility expressed by both Trible's vocals and in the way that Gondwana have approached their music over the last decade or so. At a time when the UK has experienced multiple terrorist outrages, including the deplorable attack on children at the Ariane Grande concert in Halsall's home city, there is a resonance to these messages of peace and pleas for understanding that feels timely. It is also true to say that there has been a growing vocal element in Halsall's music in recent years, so while the album does represent a shift, it is not incompatible with past glories. For example Halsall's last album, 2015's "Into Forever," included several vocal tracks split between the vocals of Josephine Oniyama and Bryony Jarman-Pinto in an enjoyable, thoughtful, soulful jazz mix.

The dominant feature of this album though is the Trible voice -an attractive mixture of Leon Thomas in his work with Pharoah Sanders or early Flying Dutchman solo era, foregoing the yodelling and adding, perhaps, a touch more warm Gregory Porter baritone. It's a voice to luxuriate in, two parts as if receiving visions, one part compassionate and emotional, as it weaves through the heartfelt collection of standards and covers. The visionary side to the Trible instrument is like a well spiced meal -giving an edge to and making fresh the largely familiar melodies, preventing them from sliding into easy listening, yet allowing the warmth and humanity to come through and linger in the memory . The band are excellent throughout -take Halsall's tender solo on opener "What the World Needs Now is Love," the near luminous Chet Baker on "Shipbuilding" quality he brings to "Dear Lord," or the simple beauty of his solo on "Black is the Colour of My True Love's Hair" where it complements the restless ripples of tempo in Modi's well-judged piano. Modi too excels, coming close to scene stealing with his muscular piano riff workout on "Feeling Good" and the light breezy touch he shows on "Heaven and Hell."

While it is true that the first half of the album is slightly stronger melodically, the overall feel is of a coherence that takes the listener to a reflective, positive, place. As such it may be that this is music that would be best experienced live, where the distractions from everyday life are minimised, but the ability to influence mood is undeniably the mark of a quality record. Because this is a Gondwana release we can also take it as read that the attention to detail in terms of recording quality and mastering is exemplary, while Daniel Halsall has excelled himself again with the sleeve art -always an important part in giving a great label an identity. Any record collector will tell you that it is only the truly great labels where you can trust their taste and creative judgments without question -surely Gondwana have now reached that status. Unquestionably recommended. ---Phil Barnes, allaboutjazz.com

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