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Starting life as a four-piece and playing street gigs in front of busy stations, the line-up was changed to a trio about a year ago. The excited whispers gradually grew to quite a buzz, and the story goes that they managed to sell some three thousand copies of their self-produced CD-Rs from their street performances and club gigs. Now the trio have released their official debut album, Colors of Agenda, on the indie Impartmaint label, and it marks the arrival of yet another exciting new Japanese club jazz outfit.
With a sound that slots somewhere between Indigo Jam Unit and J.A.M, Re-Trick are sure to make an impact on the club jazz scene over the coming months. The nine track album opens with the energetic Incentive, which gives a good taste of what's to follow. Bin Sugawara has an aggressive and technically adept approach to his keyboard-playing that puts him in the Josei (Soil & "Pimp" Sessions/J.A.M), Robert Glasper and Neil Cowley school.
The band have a fast and furious approach to their music with some fast and furious numbers such as Just Kidding, Sketch and Picasso. Extension and Reflection see them in a more mid-tempo frame of mind, while L.V. sees Bin Sugawara on electric piano for a great little jazz-funk tune.
A great debut album from a band that I'm sure we'll being hearing about a lot more in the near future.
While still deeply into the R&B/funk thing, Clarke's Time Exposure is a cut or two above its immediate neighbors in quality, thanks mostly to some superior tunesmithing on Clarke's part. The title track is the prize of the set and one of the best funk numbers of Clarke's career, an ingratiating fusion of a riff and a tune that won't quit the memory, set to a vigorous groove and hammered out by rock guitarist Jeff Beck. Even the obviously radio-minded ballad "Heaven Sent You" (a number 21 R&B hit) is a better-than-average bit of R&B writing -- and here and elsewhere, Clarke wisely leaves the lead vocals mostly to others. The sheer speed and power of Clarke's electric and piccolo bass work is astonishing throughout the album, and the CD as a whole has a techno sound and edge reflecting a period of time just before analog synthesizers were swept away by digital instruments. Ernie Watts and perennial coconspirator George Duke make cameo appearances on one track apiece.
Think back for a second to what pop music sounded like during the early '80s. For most pop acts that scored hits during this era, it was of the super-slick variety -- most of which seemed to be played by musicians who were in fact session players. Although having roots in rock and fusion, bass great Stanley Clarke was not usually prone to taking the pop plunge -- but boy, did he ever with his 1982 release, Let Me Know You. Carlos Santana even drops by to lay down a few solos.
This art form of jazz fusion was never better than this amazing album. At the height of the movement, Stanley Clarke created a collection of pieces that brought together not only great players, but excellent melodies, muscular arrangements, and a profoundly funky edge that leaves most jazz-rock/fusion eating dust.The album was Clarke's zenith, and his biggest seller.
Funky R&B delivered to the masses by a new master. A Diva for a new decade. With all-star special guests ( Tower Of Power, Lenny White, Marcus Miller, Will Lee, Joe Sample), "Nicki" fuses powerful songwriting with fresh vision and timeless R&B grooves.
Nicki Richards is the real deal - a world class singer, songwriter, producer, arranger and performer who brings the sizzle and the thrill back to that rarified realm known as "music beyond category." Born into a household rich in jazz and the gospel of the Primitive Baptist Church, yet raised on the radio of the `70s and `80s - when airwaves overflowed with amazing R&B, rock, pop and dance music - diva Richards delivers a dizzyingly eclectic musical palette to your eardrums.
Her sophomore CD reflects not only the sounds of her most lasting influences, but how their timeless masterpieces assisted Nicki in sculpting signature statements all her own. To listen to "I Have Loved You Always" is to imagine Stevie Wonder reconstructing Joni Mitchell's "Two Grey Rooms" while ensconced somewhere deep in the Spanish countryside. Listening to "That Ain't Right" puts you in the mind of Prince teasing, "Dig if you will the picture of Sly Stone having his way with Percy Mayfield's 'Please Send Me Someone to Love.'" The ego strokin’ “Say What” finds Nicki recalling nightclub glory days over the beat of Taana Gardner’s bedrock “Heartbeat” groove with a mid-song break straight out of Miles Davis’ “So What.” And if you fantasized about what Nicki's CD opener "Let's Dance" might taste like, it would be Tom Browne's "Funkin' for Jamaica" and George Duke's "Reach For It" blended over Krush Groove'd ice with an extract of The GAP Band's supremely chocolaty "Shake." Sip at your own New York funk-fortified risk!!
Her debut album, Addicted to Life - The LP conveys sounds of hope, love and appreciation of life's complexities. Songs like "More Important" and "Inner Truth" touch on the value of self-reflection and sincerity.
This 26-year-old England-born/Maryland-raised singer-songwriter, is a classically trained multi-instrumentalist, and poet. She's also one who's not afraid to take risks. After graduating from Spelman College (where she studied Music History and Theory) in Atlanta, Georgia, Teisha Marie then headed to Philadelphia. "At that particular time, Philadelphia was experiencing a rebirth of the 'Philly sound', and it was great to be fully immersed in it. I got a chance to meet the greats, like Kenny Gamble and Leon Huff, Bunny Sigler, and many others," she says.
* Limited Time Posting *
Teisha is part of the Blak's Lair Family so really show her some Love..Record Execs..Don't sleep on this wonderful artist...Wuv U Baby Gurl!!!
Midnight Star hasn't lost a step at all..., Belinda and the guys bring the heat. Uptempo cuts like "15th Avenue, I Like(When You Dance with Me?, and VIP", are off the chain.., And the ballads, "Movin'On, Hooked on You, and Just Because I Love You", are those red light, belly-rubbin', house party smokers....For a so called old school act, Midnight Star has broken the rules..and has not lost a step..This CD's a sleeper.
The album's title and rap influenced single of the same name as well as the funky hypnotic "Midas Touch," both became bonafied Top 10 R&B hits while the essential "Engine No. 9" found an instant spot in the Top 20.Though never released as singles, the sultry "Stay Here By My Side" and the breathtaking "Close to Midnight" are pure listenable pleasures, making 'Headlines' a definite front page story to rave about.
While "Freak-a-zoid" is probably its best known track, "No Parking On The Dance Floor" is an album that smacks of class from start to finish. Undoubtedly Midnight Star was a group with a lot of talent. Containing what I believe are three of the most underrated RnB singers of their time (Watson, Gentry, and Lipscomb), Midnight Star was able to produce an album with all key ingredients in abundance; grinding-groovin'-sweetness. For example, the dance numbers, "Freak-a-zoid" "Electricity" and the title track, are simple in construction, yet wickedly hypnotic with a decidedly "electro" flavour and thudding Zapp-like basslines. The mid-tempo songs are upbeat and thoroughly melodic, "Wet My Whistle" is a great example of laid back Eighties groove.Only very rarely do groups produce an album where all the ingredients synergise to create something great. No Parking On The Dance Floor was "it" for Midnight Star; awesome vocals, great songs, banging grooves.
A tremendous full length set from Ashley Thomas -- and one that's a bit different than his earlier work on singles! This album's got a really rich vibe -- one that echoes Bill Withers and Terry Callier at points -- especially in the way that Thomas mixes acoustic guitar in with his vocals. Rhythms are sometimes spacey, but often more conventionally soulful -- not mainstream, but not too broken or skittish either -- and some of the best moments have a gentleness that's really refreshing, one that really fits the acoustic soul of the whole production. However, a broader, more underground approach appealed to his sensibilities. He set about combining the quality of 60s/70s soul/funk with the more contemporary sounds - a fusion of classic vocal hooks and syncopated rhythms held together by beautifully crafted song structures.
Ashleys influences have yielded a unique vocal sound that is hard to pigeonhole, and with "A Tale Of Two Cities" Ashley utilizes all of his experiences too, from his time on the burgeoning London scene to the sophisticated, Gallic charms of his current Parisian home.
Titles include "Spotlight", "The Same Love That Made Me Laugh", "Find Me", "A Tale Of Two Cities", "Merry Go Round", "God Given", and "Maybe Is Maybe".
Aretha Franklin's multitude of loyal listeners will be thrilled that the wait for such a momentous project is over and has been truly worthwhile. Released through DMI Music, "This Christmas Aretha," shimmers and sparkles as the acclaimed artist puts her definitive stamp on a mix of 11 traditional and contemporary classics associated with the holiday season. Aretha Franklin herself produced three tracks and arranged and added her inimitable touch as a pianist to two tracks ("Silent Night" and "14 Angels"). Award-winning producer Tena Clark (whose production credits include Natalie Cole, Patti LaBelle, Dionne Warwick, Chaka Khan and a multitude of other major artists) masterminded seven cuts.
Christmas cheer runneth over with McKnight's first true holiday collection featuring all of your favorite Christmas classics and three new McKnight holiday originals - presented in that smokey R&B mold that McKnight does so well; McKnight's famed vocal prowess will definitely make this the most wonderful time of the year! As an extra special bonus, Josh Groban, Rascal Flatts and Babyface also make guest appearances on the album! McKnight's visibility will be growing around the holiday season and into 2009.
Celebrate Christmas with Coko as she reminisces on her favorite holiday tracks. The soul-filled album will take listeners through a journey; rediscovering SWV-inked Christmas tunes "Oh Holy Night," "This Christmas," and "The Christmas Song (Chestnuts Roasting On An Open Fire), while also enjoying holiday inspired songs "Holy" and "Grateful," from her solo debut album.
COKO CHRISTMAS is sure to bring back pleasant memories of the Christmas season.
* Another Great Post from The Blak's Lair Family *
Gritty, Sultry, Soulful, Inspiring, Feel Good MUSIC!!
Green Tea pours in her heart and soul and captures the hearts of people.Many people hear the sultry, soul-filled voice of Green Tea, and seem to be overwhelmed by her positive and heartfelt messages in her songs. Green Tea continues to hone her craft to perpetuate the notion that music has the power to break an impoverish mindset. As she continues her journey the masses will soon see that she is a household name in the making. Whether she is warming up the stage for Julie Dexter, Kindred the Family Soul, Yahzarah , Dead Prez, Fertile Ground , Chuck Brown, Anthony David , or Slick Rick. Green Tea’s music touches the soul,while her delivery sets the tone for growth, power, and love.
In many ways one of his most brilliant quirky albums. "Come" is an exciting concept album that flows from everything to sex to abuse to racism to even more sex. The songs not only work great as written poetry but as great R&B music. The album starts out with the sex fest that is "Come" that is extremely long at over 10 minutes but is beat for beat hot rhythms. Followed is the even hotter "Pheromone". Great social commentary's come in the form of the story song "Papa" ("don't abuse your kids, or they'll end up like me.") and the awesome funk rap of "Race" ("I bleed, you bleed. Both the bold is red. Get it"). "Letitgo" is one of those great R&B gems that just doesn't get the radio play it deserves. It's a great funky number and is extremely heartfelt at the same time. "Orgasm" speaks for itself and is just a sex scene with some Prince music in the background. Talk about the conclusion. Maybe the best song on the set is a small gem that just hides within the middle. It's an electronic song called "Loose!" which pulsates with hot dance grooves and tons of funk. The CD is almost worth it just for that track. The album is full of not only great feeling and hot R&B sounds but has light faire like the mellow "Solo" and R&B ballad "Space". It's also Prince's last record and a great ending to an awesome career. The Artist has made some great stuff, but I think this Prince record is nearly untouchable. Eccentric music and creative stuff.
1998 release with 14 covers of his best by top pop starspast & present. Includes: Tina Turner 'Let's Pretend We're Married', Cyndi Lauper 'When U Were Mine', Living Colour '17Days', Bangles 'Manic Monday', Sheena Easton 'Sugar Walls',etc. Other choice cuts are by Melisa Morgan, Stephanie Mills and Joe Cocker.
A live performance of "Days of Wild" from a 2002 Prince concert in Montreal, released as a single on June 30, 2002. The original release of the song was on Prince's 1998 3-CD set, Crystal Ball. You will hear a lot of contrast from the original release to the 2002 version, though. Strong language and cursing is used throughout the original, but in 2002, all profane lyrics were changed by Prince.
The single also features a live version of "1+1+1 is 3" (an excerpt from Prince's One Nite Alone... Live! album) as a B-Side.
Indigo Nights/Live Sessions is a collection of after-show performances by Prince and his band during the 21 Nights In London tour. This CD was released as part of the 21 Nights book by Prince and Randy St. Nicholas featuring photos and poetry from the tour.
The World of Sense is the second album release from vocalist Maki Mannami, who, according to different sources on the Net has been involved in music since childhood and studied singing in New York, taking in such varied styles as jazz, Broadway and gospel.The style swings between spiritual jazz, contemporary downtempo, Spanish-tinged world music and classical.
A great set of soul from Japanese singer Maki Mannami -- one with a distinctly jazzy vibe, thanks to production from Sunaga T! The album's a great step forward from Maki's first album -- much deeper in feeling, much richer in sound -- with some great jazzy elements contributed by guests who include Nicola Conte, and members of Quasimode, Jabberloop, Soil and Pimp, and Jazz Collective! Most lyrics are in English, and at times Maki sings with a richly spiritual sound that takes us back to righteous 70s soul jazz -- and at other times, the vibe is a bit more contemporary -- more in the mode of recent Japanese work, but more jazzy than clubby. Titles include "Turquoise Blue", "The World Of Sense", "Antes De Nacer", "Lotus Sun", "Vida Espiral", "Primitive Rebirth", "Time To Say Goodbye", "The Woman From Marusa", "Astral Gate", and "Stupid Girl".
The Budos Band's latest offering is just that - aces above the rest. It's a real burner, with more horns than you could ever hope for, sounding wickedly devilish yet bright and ebullient.
Like the deadly scorpion of the album's cover, The Budos Band's second release, The Budos Band II, creeps stealthily over the hot desert sand. It is with unmistakable purpose that each beat of the music drives forth, one footstep of many to carry the Scorpion toward its meaning. With his tail arched high in readiness, he maneuvers patiently under the scorching desert sun and chooses his prey. He strikes without warning and with out remorse. The venom of his sting, true to its reason; his victim, ever-intoxicated. With its twenty-two legs, three horns, and hallucinogenic venom, The Budos Band (the unheralded emperors of Instrumental Staten Island Afro-Soul) continue to rule. The band commands their listeners to follow them on their second journey into the depths of their poisonous vision. While their debut album was itself heralded as a groundbreaking exploration of funk, afro-beat and soul music, few could predict that their second effort would not only match but surpass the realm of mind-expansion embodied on their first sessions. Through ten exciting new instrumentals recorded live at Daptone's House of Soul in Bushwick, Brooklyn, The Budos Band pours themes at once resonant and ethereal over Herculean rhythms.
I don't know where to begin when trying to describe the Budos Band...they have hints of afrobeat, funk, jazz, and a troop of horns that will rattle your walls. (Not that you'd notice because the bass will have your floor vibrating.)It's funky and sounds like it could be an amazing instrumental set up for a hip hop album, and is just an amazing headphone masterpiece.No need to skip any tracks here, these guys are awesome.
Debut album from this vibrant Neo-Soul singer from San Jose, CA. Featuring special guest and Grammy award winning emcee Kanetic Source. "The vocals are brilliant. We are probably talking about the best Soul album this year so far.
From her presence to her music to her life’s path, Tracy Cruz has become one of the most galvanizing, all-natural wonders. Wherever she goes, she wows and astounds. Strong melodies, catchy hooks, introspective lyrics, and lush arrangements characterize Tracy’s soul/jazz/R&B creations. At knee high, Tracy started blessing stages at the age of twelve, competing in talent competitions and coming home with trophies. 15 years later, she continues to capture the hearts and ears of many through her powerful voice and memorable melodies. As a mother, wife, songwriter, and performer, some wonder how she managed such a sweet comeback; but she didn’t do it alone.
Championed by the likes of Jill Scott, Lauryn Hill, Sarah Vaughn, and Ledisi, the statuesque and beautiful Tracy Cruz is all at once smart, sassy, insightful, down to earth and very real. As the primary songwriter, she brings her own experiences and observations on life and love with vivid storytelling imagery to her songs. Her album “Feel'osophy” – (released September 23, 2008) – is the study of emotions through musical words and sounds. The 16 track album encompasses all layers of feeling such as joy, sorrow, anger, excitement, and hope. Tracy Cruz and executive producer Allen Ross purposely used different vocal styles and musical arrangements to truly capture a world of emotion. Listeners will take an emotional journey of wonder through "Blue Eyes," hope with "Don't Leave," and passion with "Expression Sensation." All songs were either written solely or collaboratively by Tracy Cruz or Allen Ross, with Ross remaining the musical producer. This album is a clear cut statement about the true power of divine love through the journey of life. The past few years have been a whirlwind of sorts for Tracy. This album serves as tremendous representation of a struggle that she powerfully deems “beautiful.” Despite the trials and tribulations of her personal life, Tracy Cruz has simply not lost her "spiritual being."
This is one of the coolest Australian funk jazz bands.Their debut album showcases their incredible ability and creativity, as well as saluting their influences (Miles Davis, etc).
It is jazz that makes you re-explore your long held definition of jazz. Brilliant, innovative, creative, infectious, rich, grooooovelicious music!
These were all top notch Australian players, playing danceable jazz funk. They clearly had a background in straight ahead jazz. They made three studio albums I am aware of, the last being Curvystrasse. I was saddened when this guys broke up. I think one of them, the guitarist may have subsequently died. The sax player has a group called Eon Beats Project or just Eon.
The image of three interlocking triads on this compilation's cover helps illustrate the intent and appeal of 3rd Force. At their best, the group's members multi-instrumentalists William Aura, Craig Dobbin, and Alain Eskinasi (plus an ever-changing list of guest lead instrumentalists) cross-pollinate melodic Nu Jazz, smart grooves, and understated jazz textures to produce a brand of pop-minded lite jazz that is clever, fluid, and often infectious. Not every track succeeds as memorably as the smart and sassy "In the Full Moon Light" (with Rick Braun on flugelhorn) or the sweetly propulsive "You Gotta Be Real" (Peter White on acoustic guitar), but the 3rd Force formula is, for the most part, consistently attractive. Two new selections (both largely generic) open Collective Force, so if you own all or most of the four albums sampled here, you may not need this collection. Yet for those new to 3rd Force, or anyone inclined toward smooth-jazz with a melodic-pop nexus, Collective Force makes a very tasteful introductory package.
Thirty seconds into this CD's first track, "Young Again," a hardcore smooth-jazz fan may think it's either Sade, Acoustic Alchemy, Tom Scott, or 3rd Force, and be right three out of four. Eight years ago 3rd Force defined their sound, built around overdubbed reeds and textured keyboards, and then flavored their discs with well-known distinctive smooth-jazz stylists. Their fifth album follows the same path, but leader William Aura's relentless search for new grooves may have broken some new ground with these 10 songs, and newcomer vocalist Rebecca Carlish (heavily influenced by Sade) is ingeniously used on different tracks here via wordless vocals or short bursts of lyrics. On the steamy and sexy "Grateful for Your Love," sax man Jimmy Sommers and guitarist Grant Geissman are intertwined with Carlish without losing the sound of the Force. The contribution of Carlish, if only to hear a fresh take on Sade's style, will make this a must for smooth-jazz lovers, but it's the fresh rhythms, haunting melodies, and sparkling, symbiotic pairings, like guitarists Craig Chaquico and Brian Hughes, that will place it on best-of lists at year's end.
The long anticipated release of Driving Force, 3rd Force's seventh recording on Higher Octave Music, adds an exhilarating chapter to the multi-faceted, gently exotic groove-oriented instrumental phenomenon that's been a mainstay of the smooth jazz format since the ensemble's self-titled 1994 debut. Featuring performances by Marc Antoine, Eric Darius, Brian Hughes, and Tom Scott, the album marks a bigger in-your-face sound for the band, honoring vintage Motor City funk and the original '70s urban cool.
This is DEFINITELY not the usual 3rd Force CD. "Driving Force" has a completely different feel and groove to it. The mellowness of past recordings has been replaced by an updated, contemporary sound. The familiar musical hooks are still there, but they're more in the background.
This album from Prince protege Támar Davis was scheduled for release on May 2, 2006. Prince and Támar were both signed to a deal with Universal Records and had planned on releasing this album around the same time as Prince's 3121 album. She had already been performing with Prince, headlining many of his 3121 Las Vegas club gigs, while Prince just played with the band. She was also featured very prominently on many of the songs from Prince's 3121 album. Prince was investing a lot of time in her career, and it seemed that Támar Davis was going to be the next big Prince protege to hit the scene. Mysteriously, she was dropped from her label (and from Prince's band) and the record was never released.
This whole record has Prince written all over it! He co-wrote many of the songs, as well as played most of the instruments. This CD is a gem! It's too bad nothing will ever be done with it.
Támar Davis may be Prince's latest protégé, but the curly-haired songstress seemed destined for the spotlight long before the Minneapolis wonder discovered her. Back in the early '90s, the Houston native sang and danced with Beyoncé and Kelly Rowland in a group called Girls Tyme.
Támar Davis is apparently still recording, and plans on actually releasing something soon. You can check her out at her website: http://www.tamardavis.com.
The 12 tracks on this disc are both smooth and soulful--with an emphasis on smooth. Song selections are almost evenly divided between the familiar and the original.
The Pointer Sisters start things upbeat with "Christmas in New York," along with a bouncy version of "Carol of the Bells." Al Jarreau performs two funky originals, including "Peggy Virginia" which he co-wrote. Fourplay provide two jazzy instrumentals--"It Came Upon a Midnight Clear" and "God Rest Ye Merry Gentlemen." These six tracks are debuting on this holiday release.
The other six tracks, like Take 6's haunting "Away in a Manger" and Anita Baker's gorgeous "Christmas Fantasy," were culled from previous holiday albums. Altogether, this makes for pleasant listening.
Al Jarreau's "Christmas" is a delightful surprise for anyone who has followed his music career. On this album Al collaborates with some of the best contemporary arrangers, including Larry Williams and Jorge Calandrelli, to deliver a smooth jazz mix of holiday standards. Listen out for "Winter Wonderland"; "Hark The Herald Angels Sing"; "White Christmas"; and "I'll Be Home For Christmas". "Some Children See Him" (a song penned by Alfred Burt and Wihla Hutson) is fast becoming one of my holiday favourites. I first heard it on the "Christmas With Maureen McGovern" album; and for me it had the instant "ZING" factor.
He now releases his first holiday collection and first album of newly recorded music since 2006's Givin' It Up. Christmas includes the singer's disctinctive vocal spin on a dozen yuletide classics.
SWS is a collection of some of Madison¹s premiere musicians, including two of the most venomous vocalists to grace the stage: Mr. Parker and Joy Dragland. Parker¹s East Coast flavored taste on modern hip-hop (melodic, conscious, intelligent, somewhat cocky) delivers a sex-like compliment to the hypnotic touch of Joy Dragland¹s sultry, jazz-inflected voice. Underneath, drummer Mark Heise and bassman Brett Farrey set a course on the rhythm section Enterprise to warp 9. Keyboardist Mark Siegenthaler and guitarist Shanan Galligan are the yin and yang in the chord change chamber. And the icing on the cake, the SWS horn section led by the young veteran, Bryan Elliott, stabs, slides, and screams the catchy hooks fusing this ³next shit² band to the next level.
For the love of music! Smokin¹ with Superman is it, one of the best and most original bands to come out the Midwest in years. SWS was born in 1999 and has been turning heads and shaking asses with its unique blend of hip-hop, funk, r&b, and jazz ever since. SWS has been branded the best band on Madison stages, and has earned the respect of fans and musicians across the region. And now, with the release of their first full-length CD, Full Price, the SWS crew is looking to smear themselves over the map.
For the love of music blends a mix of acid jazz, hip hop, and funk. Bottom line, this CD "smokes" and deserves to be in your collection.
2008 two CD set. Volume 10 of this popular series invites you to a unique journey into Nu-Jazz's latest trends, where rare grooves, soulful vocals, electro, acoustic or instrumental sounds melt together. As usual the first CD showcases a juicy selection of titles ranging from Nu Jazz great classics like Shirley Bassey revisited by Kenny Dope or St. Germain with his anthem 'My Mama Said' and Jill Scott 's hit 'Brotha'. Also featuring excellent remixes of Jamie Lidell by the dashing Senor Coconut, and the Jazz trio version of 'If This Is not Love' by Nicole Willis.
On Disc Two ,we are very proud to host DJ/producer Will Holland, AKA Quantic, who was invited to explore the full discography of the prestigious Tru Thoughts label. It is therefore an exclusive Nu Soul Jazz, Funk mix that delivers here Quantic, blended with Latin vibes.
DJ Mu-R's Mix Tape is a masterpiece, combining two mix CDs " The Chill Vibe - Ice" and "The Energetic - Fire". From a foundation of Jazz and informed by the spacious black groove, JAZZY SPORT's understanding of hip hop, house, down tempo, broken beats and all roots music is second to none. The crew are proud to present DJ mixes from two of their key Tokyo-based operatives, DJ Mitsu the Beats and DJ Mu-R (GAGLE).
Gagle's new mini-album with six songs. Music by DJ Mitsu the Beats. By the way this album is part of the anniversary campaign at HMV10. The first exclusive HMV (online) release.
Love of all things soulful first brought together the collective of Denmark based Frank Kyle and in demand German producer Rob Hardt. Under the genesis of Cool Million they collaborated with talented Danish singer Lene Riebau in the opening track of this album 'Naughty Girl,' which first came to my attention on the superior compilation 'Soul Togetherness 2007'. Now, encouraged by the feedback to that track they have continued their vision of taking soul back to the future by completing a 15 track debut set which is full of uplifting modern soul classics.
Bringing together independent and largely unknown musicians and vocalists they have produced an exceptional album of uplifting soulful gems. All tracks share that homage to the days of The SOS Band, 52nd Street and Loose Ends with the latter being uncanningly brought to life again with the talents of Londoner Aaron Washington in 'Pride'. Maltese singer Laura Jackson contributes the most vocally with three songs to her credit, including one which is my favourite of the album, the bouncy, catchy and drop dead soulful 'Leave Me'. The Glaswegian, Eleana Young, leads on the Kleer Inspired 'Walk Away' and did I mention the contributions of vocalists CJ Anthony or Donald McCollum? Indeed, each track is a delight to listen too with its melodic immediacy and strong production qualities. It is what I tend to call a 'Blue Sky album' even on a grey day! One for the soul boys and girls with something for those who are new to the genre as well. An album full of uplifting soulful music and magic.
Founded by bassist Michael Cruz and vocalists Gretchen Lieberum and Maya Rudolph, Supersauce formed in 1993 at the University of California at Santa Cruz. Picking up where bands like The Brand New Heavies and Incognito left off, the group achieved local stardom almost overnight. From their first gig at a Halloween house party, they immediately graduated to rocking sell out crowds at infamous Santa Cruz institution, The Catalyst. The recipe was simple -- part funk, part groove, and all party. As their theme song goes, "once you taste The Sauce, you'll never be the same."
In 1995, The Sauce moved to San Francisco and Rudolph headed to L.A. to pursue her acting career. Her move proved wise as she soon landed a gig with The Groundlings, and is now in her third season as a cast member on Saturday Night Live. From 1995 - 1998, Lieberum fronted the band on her own, honing her skills even further and blossoming as a songwriter. In this time, the band increased their fanbase exponentially, touring the West Coast and performing locally at The Elbo Room, The Fillmore, and The Great American Music Hall. Supersauce disbanded in 1999 when Lieberum moved to Los Angeles to pursue her solo career.
The band has since reunited, and with new lead vocalist Latrice Barnett they are now known as Five Point Plan.
Supersauce is:
Gretchen Lieberum - vocals Michael Cruz - bass Alex Budman - saxophone, flute Jordan Glasgow - keyboards Tim Carter - drums David Metzner - guitar
There are probably alot of people who think of Eumir Deodato as the Brazilian equivilant of Ramsey Lewis and Bob James.That probably stems from his work as an orchestral arranger,and I must say 'Love Island' isn't exactly free of that quality. But Deodato is a clever,inventive arranger and KNOWS where and where not to put strings and horns on a song so they sound artistic and not contrived. With the help of members of Earth,Wind and Fire, The Crusaders and George Benson. 'Love Island' showcases a sincere interest in R&B and funk."Area Code 808" is a GROOVE-full of hot guitar riffs and driving synth licks."Whistle Bump","Chariot Of The Gods" and "Pina Colada" are in the same kind of vein."San Juan Sunset" and the title cut have a very mid 70's Earth,Wind & Fire ballad quality to them,only without vocals.The best way to describe much of this music would be lite funk,especially on a version of "Take The A Train" (yes,it's Ellington's composition).But on each of these eight cuts I have nothing negative to say and I'm very glad that Wounded Bird has started to reissue Deodato's records.They've done a great job at putting fusion back out on CD and in that genre (notably on the R&B and funk side of it) this is high quality music.
Love Island was released in 1978 & reached #98 on the Billboard charts. It features guest appearances by jazz greats Larry Carlton & Harvey Mason.
Although he was not only heavily involved in producing funkers Kool & the Gang but was elsewhere employed far from his own jazz roots, fusionist Eumir Deodato was still taking the time to perfect his own smooth pop. Happy Hour, released in 1982, is a prime example of the sounds and styles he'd now fully adapted. Sweet and slick, Happy Hour hinges on the upbeat sounds of early-'80s pop, leaving his prior success with disco present but lurking in the background. With vocalist Kelly Barretto taking a turn across the lion's share of the songs, she set the tone with her clear R&B style and, although it was "Happy Hour" that hit the pop charts, the opening "Keep on Movin'" was a far better example of her prowess. Nearly eight minutes long and built around a smoothly repetitious, delicious, classic Deodato groove, her octave-leaping vocals bound in and out of the mix with ease amid the synth and brass."Keep It in the Family" and "I Never Get Enough" wrapped up the set with a Motown vibe.
Long before there was a genre called "smooth jazz", and long before he moved from Brazil to New York, Eumir Deodato was the real deal. And Eumir Deodato Plays Marcus Valle is as smooth as it gets. One of the most important names of Brazilian music over the past 30 years, Deodato is with Jobim and Joao Gilberto one of the fathers of those jazz-bossa and jazz-samba sonorities which have become so popular around the world. 13 tracks celebrating the music of Marcos Valle.
Volume 1 is by far my favorite of the two and not just because the material is stronger. The musicians on both volumes are virtuoso, but on Volume 1 of the Bossa Nova Sessions they sound positively inspired! Throughout, Deodato shows the massive talent for arrangement and phrasing that to Americans just seemed to have come from out of nowhere when Prelude was unleashed in the US.Samba de Verao is likely the best-known tune on the CD. Millions who couldn't tell a samba from a square dance have heard it at some time in their lives. But its hardly the best tune. I like almost everything. Favorites include Samba No Congo, Adriana, Capoeira (great sax work), the aforementioned Samba de Verao, Ainda Mais Lindo, So Por Amor, Ela e Carioca, and Pouca Duracao. A pool party would be the perfect place to crank this up and get everyone in a festive mood.There are over 50 minutes of great music here and I think this is a CD not to be missed. Get this great find today while it is still available.
This is an excellent choice to select out of all Harold Melvin and the Blue Notes collection CDs. I enjoy listening to every song, I am a huge fan of "Weak for You".Teddy Pendergrass made himself a star with these recordings. Listen and be transported by the dominant voice that was T P before the hoopla surrounded and overpowered so much of his sound.This collection covers ALL the groups Big Hits: "If You Don't Know Me By Now", "The Love I Lost", "Hope That We Can Be Together Soon" & "Wake Up Everybody"...The Top Ten Smashes: "I Miss You", "Satisfaction Guaranteed" "Bad Luck" & "Where Are All My Friends".This CD is highly recommended to anyone who wants to listen to a great group.
Harold Melvin & The Blue Notes ~ Wake Up Everybody
This is Lucien's first album with Columbia. After making three albums for RCA in five years, he didn't attain superstar status, but this as well as early 70's efforts I Am Now, Rashida and Mind's Eye made Lucien one of music's most respected though sluggishly selling acts. This 1975 effort deftly mixes cover version of well-known songs as well as Lucien's always-creative originals. With a switch to a bigger more influential label, the changes are minimal. The instrumentation and production are little more palpable, but not by much. The biggest difference here is Lucien's voice; it became warmer, more polished and accessible. But while that looks great on paper, with an artist with a strong persona like Lucien is either going to be hit or miss. He undoubtedly is on his game here and like the rest of his catalogue, this is alternately eccentric and romantic. Due to the production and his focus, Song For My Lady became the album to which all of his subsequent efforts were measured against. On his brilliantly arranged and sung cover of Antonio Carlos Jobim's "Dindi," Lucien uses all of his register from the high pitched sighs to his croaky lows. His take on Bernard Ighner's "Motherland" however went on for one minute too long. That being said everything Lucien did on this effort was at least interesting. "Maiden Voyage" is a remake of Herbie Hancock's classic instrumental. Although "helping" a woman through her "first affair" wasn't hinted at on Hancock's original, Lucien saw a prime opportunity. With lyrics like "Time for your debut," and "Soon you'll cry, lovely things you'll say," Lucien was inspired enough to turn in one of his most assured and fulfilling vocals. Lucien also succeeds with the uptempo offerings. "Soulmate" and "Creole Lady" both display odd production values and his almost naïve and though likeable takes on love. The atmospheric title track has him crooning such lines, "Tell her that I care, tell her spring is here," like it's pure poetry. Song For My Lady didn't make Lucien a giant star, but it's simply one of the more visionary and satisfying albums of the jazz/r&b genre.
This is his second Columbia Lp, and it must be said that this is among his slickest attempts at mainstream jazz/r&b crossover success. But his voice can melt butter, here as always, and if you like mid-seventies slick pre-smooth jazz with a heavy dose of guest stars, you'll like this. Maria Fatima, Phyllis Hyman ,Chuck Rainey, Bobby Lyle and more.
