…“Paul Brown sets the musical standard by which others are measured. ‘The Funky Joint’ showcases Paul’s incredible guitar playing as well as his signature sound, as both an artist and a producer. “The Funky Joint” was the most added single on smooth jazz radio the first week of release! After two weeks, it has already risen to # 25 on the Top 50 Chart and # 10 on the IndieStar Chart!
… One sees them return to their roots. As with their breakthrough debut album, Take 6, which went to #1 on the Billboard Gospel and Jazz charts simultaneously and earned a Grammy in both categories, One features Take 6’s unique arrangements of some of the world’s most beloved gospel classics as well as their inspiring devotional originals. Highlights include a guest appearance by Stevie Wonder on the heartfelt “Can’t Imagine Love Without You,”
buy Misoprostol pills no prescription… Incognito is recognized as one of the best funk/jazz/soul/dance outfits in the world, a pioneer of the “acid jazz” movement who has delighted listeners and dancers for decade. Surreal is Incognito’s look into the future, featuring two of the brightest young stars on the British soul scene: Mo Brandis, who is being hailed as England’s John Legend, and soul diva Natalie Williams, of whom Time Out writes: “One of the UK’s hottest singers…she effortlessly moves from soul-diva to sensual and sophisticated jazz.” Long time Incognito lead singer, the incomparable Maysa, is also featured on this brilliant set of 12 Bluey Maunick originals.
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buy Misoprostol 20mcg… On Electric Wonderland, Standring’s longtime fans, as well as guitar aficionados, may recognize that he’s doing two new things here. The first is, in keeping with the CD’s title, he’s traded his archtop jazz guitar-which imparts a much more acoustic sound-for a Fender Stratocaster, whose strings and solid-body infuses his music with a more expressive sound.
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By L.M. Glover
Guitarist John Stein has come into his own as a player. In musical terms, Stein has taken what was already been considered a wide spectrum of sound and brightened it. His palette now includes the prismatic hues of jazz itself.
Stein and his band – bassist John Lockwood and drummer Zé Eduardo were, after a handful of recordings together, were n-synch and with the added energy and breadth of what keyboardist Jake Sherman – the new kid on the block – brought to the table, this band is solid. Stein and his posse are fully attuned; an integrated musical happening that takes flight on Hi Fly.
First and foremost Hi Fly is a collaborative affair. There is not a hint from Stein of the “in your face leader,” ego left the studio. He got outside of his comfort zone. As his colleagues nudged him forward, fleshing out their arrangements into something unexpectedly lovely. “The main thing.” says Stein in the liner notes to the album “is the collaborative spirit in this record … The guys contributed a lot of musical ideas … The instrumental virtuosity was challenging and I really stretched to keep up.”
The collective, the band as a unit, makes this project work. Each contributor bringing the best of themselves to serve the whole; a win-win outcome for the listener and I would assume the artists too. The music is front and center and the band offers this fluid presentation that is simply awesome.
Hi Fly, Stein’s third recording with Lockwood and Nazario, is a true achievement, with many bright moments. Sea Smoke showcases Nazario’s swing, Plum Stone is tailor-made for Sherman’s Hammond organ, and Lockwood steps up and out on Love Letters and Threesome.
Hi Fly is laidback yet intense; reminiscent of the West Coast sound popularized by Wes Montgomery and other noted guitarists of the late 50s and early 60s. Some may define this style of music as bring homogenized. They may even say it’s not real jazz music. However, I define HI Fly as balanced as in the flow, the swing, and the groove of the music; whole as in how well the group works as a collective; and completely satisfying in their choice of compositions, the aesthetics, the art of making music.
I listened with my heart and not my head allowing the music to unfold without preconceived ideas as to what it should be. The musicians seized on great opportunities to soar and in so doing displayed a kaleidoscopic view of a talented and cohesive band. And that was enough me. Hey, I’m just sharing!
buy Misoprostol onlineBy Lyndah Malloy-Glover
It’s been almost 50 years since legendary jazz saxophonist John Coltrane collaborated with the then unheralded vocalist Johnny Hartman to create what many critics have called a classic, a masterpiece duets album comprised of six romantic standards composed by the likes of Irving Berlin, Sammy Cahn, Billy Strayhorn, and Richard Rodgers & Lorenz Hart. An ardent admirer of the recording and equally purposed with putting the spotlight on an underappreciated vocalist who happens to be his younger brother, Grammy winning sax-man Kirk Whalum has re-recorded the entire album offering his modern day take on the time-tested collection which was released appropriately on Valentine’s Day as “Romance Language.”
The half-dozen standards from the original recording were approached by the Whalum brothers with respect. Kirk Whalum and John Stoddart crafted new arrangements that placed Irving Berlin’s “They Say It’s Wonderful,” Sammy Cahn’s “Dedicated To You,” Billy Strayhorn’s “Lush Life” and Richard Rodgers’ “You Are Too Beautiful” in present day R&B-adult pop and jazz settings. The newer songs – including renderings of contemporary hits written by Terry Lewis & James “Jimmy Jam” Harris, Eric Benet, and Joe (Thomas) – retained the feel and the ambience of the set. The musicians accompanying the Whalum’s were Stoddart (piano, keyboards, organ, backing vocals), Ripoll (acoustic guitar), Ralph Lofton (organ), George Tidwell (flugelhorn, trumpet), and percussionists Bashiri Johnson and Javier Solis, Hugh “Peanuts” Whalum (vocals).
Romance Language both then and now is somewhat underwhelming considering the talent involved. Kevin’s presentation is laid-back, a bit controlled; although is vocals are a tad more animated than Hartman’s vocal performance on the original album. Kirk’s sax solos are good [My One and Only Love, I Wish It Wasn’t] but there is no fire just as with John’s outing nearly five decades ago. Tepid may have been the Whalum brother’s intent. If so, goal accomplished! The musicians are good. The arrangements work. However, the record did not wow me; it is my opinion that Romance Language lacks that little something more that makes a good record a great record.
Romance Language is Kirk Whalum’s 19th album as a front man since his 1985 solo debut, Floppy Disk. He topped the Billboard contemporary jazz album charts twice (And You Know That! and Cache) and amassed 11 Grammy nominations. Whalum took home a coveted Grammy earlier this year for a duet with Lalah Hathaway that appeared on his The Gospel According to Jazz: Chapter III. Additional information is available at buy Misoprostol online 20 mcg no prescription.
Lee Morgan Remembered
Lee Morgan was a stalwart, a strong supporter of the driving jazz-meets-funk-meets-blues grooves produced by Blue Note in the 1960’s. A flashy player of enormous technique and invention, he became the natural successor to Clifford Brown, emerging on the jazz scene shortly after Brownie’s death in 1956. Morgan quickly developed a unique style, fusing classic bebop motifs with more modern rhythms, harmonies and melodies.
Born in Philadelphia on July 10, 1938, he began his trumpet studies with a private instructor, and continued them at Mastbaum High School for the Arts, where he also played the alto horn. A fan of jazz from an early age, he was exposed to a wide variety of live music in the vibrant Philadelphia music scene, which had produced such notables as John Coltrane, Benny Golson, the Heath brothers, and many others.
By the time he was 15, Morgan was leading his own group with bassist James “Spanky” DeBrest as his partner. He was also taking part in Tuesday night workshops at the Music City club, which brought him into early contact with Miles Davis and his primary early influence, Clifford Brown. After Morgan graduated from Mastbaum in 1956, he and DeBrest subbed with the Jazz Messengers when Art Blakey arrived in Philadelphia short two musicians. “Spanky stayed on,” Morgan explained in the liner notes to his first Blue Note album. “I could have stayed too, but I didn’t want to sign a contract, so I left after two weeks. Very soon after that, Dizzy Gillespie returned from his South American tour. Morgan’s career took off when he joined Dizzy’s big band at the age of 17.
Dizzy was always a generous teacher, and allowed his young protégé plenty of solo space. This provided Morgan an excellent opportunity to gain experience before his return to Blakey’s group in 1958 after Dizzy’s group disbanded. That year he recorded, Candy, his first of twenty-five Blue Note recordings as a leader, and though he was only 18 at the time, Morgan had already attracted attention with brassy acrobatic solos that heralded the arrival of a significant new talent. While working with the Jazz Messengers, Morgan formed a great partnership with tenorist Benny Golson, and their shared sense of timing and musical rapport is obvious on the album Moanin’, both on the title track and on numbers such as Blues March. Morgan shared the Messengers frontline with Golson, Hank Mobley and then Wayne Shorter until a heroin problem forced him to leave the band in 1961, (when he was replaced by Freddie Hubbard).
Morgan returned to his native Philadelphia for a few years, where he maintained a low profile while battling his addiction, working occasionally with saxophonist Jimmy Heath. He returned to New York in 1963, where he recorded, The Sidewinder, on the Blue Note label with sideman Joe Henderson, This was Morgan’s greatest commercial success. He entered his greatest period, recording one memorable album after another, writing “Ceora” and “Speedball” and spending a second period with Blakey (1964-65).
As a sideman Morgan was recorded on many classic jazz albums such as Gillespie’s Night In Tunisia, John Coltrane’s Blue Trane, Grachan Moncur’s Evolution and dates for others, including Curtis Fuller, Philly Joe Jones, Wynton Kelly, Clifford Jordan, Hank Mobley and Wayne Shorter. Morgan was as comfortable unleashing dynamic displays of instrumental virtuosity on triple time blues as he was displaying controlled sensitivity and passion on ballads. His style included elements drawn from Dizzy Gillespie and Clifford Brown, but his own wide, crackling tone, his use of bluesy phrasing and effects, searing high register, human-voiced half-valve effects, and his dancing, funky, timing, was the essence of hard-bop.
Morgan’s later bands featured Bennie Maupin or Billy Harper on saxophone, and while the modal jazz direction taken by many other bands became more prominent in his compositions, Morgan remained at heart a hard-bop trumpet player.
Lee Morgan’s fast lane lifestyle ended on February 19, 1972, when he was shot dead by his common-law wife, Helen More, during a performance at Slug’s in New York, ending his life at the age of 33.In 1991, Lee Morgan was inducted into the Down Beat Hall of Fame
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I have often wondered if Clifford Brown had not died in 1956, would there be a Lee Morgan as we know him. And, if Morgan had lived past the age of 34 would his star have equaled or surpassed that of Miles Davis? Hum, something to ponder. Let ABYSSJazz know your thoughts!
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