Give Me the Night Review

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Give Me the Night ReviewI'm not a George Benson fan, yet I have to admit this is a great album. Much of the credit belongs to producer Quincy Jones. He gives the project a polished sheen that ties every song together, but never comes off as sterile. Uptempo cuts (Dinorah, Dinorah) blend seamlessly with ballads (Love Dance). Apart from two instrumentals, Benson doesn't get much solo space. But when he does get to use his guitar chops, it's always in service to the song rather than a mere display of technique (as in the title track). The high quality of the material doesn't hurt. Rod Temperton wrote half the songs, and they are at least as good as the ones he gave to Michael Jackson. Even the weakest song - "Midnight Love Affair" - is memorable. Purists are quick to condemn "Give Me The Night" because it isn't really a "jazz" album. It's their loss. Whatever happened to the pure enjoyment of music? Pop this in the CD player, dim the lights, get out the Chardonnay, and cuddle up.Give Me the Night Overview

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Orchestrion Review

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Orchestrion ReviewI've got tickets for Pat's Orchestrion tour in May and I'm bringing my son who is 11 and just starting out his young percussion life. I can't wait to introduce him to one of the finer things in life: i.e. Pat Metheny's Music.
Do I wish he was touring with his band? Yes. Lyle Mays and rest of the crew. I would give anything for a chance to introduce my son to that very rare treat - live especially.
After listening to the Orchestrion CD for the first time, will this be worth it? I think so. I give Pat credit for trying something like this. What the heck: a multi-Grammy winner can step out a little bit I think. I agree with some of the other reviewers that it's definitely Pat, albeit 'mechanized mallet percussion Pat'. But it's okay. It's a project that's close to him and I can imagine the experience of seeing this setup live will be quite original and fun!
The CD is not going to shock and awe you. It's solid Pat Metheny - right on the money in terms of harmonics, improvisations, tonalities, and substance; he's attempting something different here in terms of instrumental backup. I'm giving Pat a 'Hall Pass' on this one. It's decent work!! Go for it Pat!!
There are many like me who slip a Pat Metheny CD into their player while driving to work (or wherever) and are instantly transported back to some of the finer times in their lives. I'm sure I share this sentiment with many, many other people. For this I can't thank Pat (Lyle and various other contributing artists) enough. Pat has laid the background track for many of our lives and it's been a good one. The vibrations have always been filled with inspiration, order, spirit, compassion, kindness, expression, and dare I say Loving Hope. And for the opportunity to let my son feel even a single bit of this, now through this Orchestrion effort, well so be it - I am thankful.
Thanks Pat for another chapter!!! Keep it going man!!!! You make me believe in things I can't see...Orchestrion Overview

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The Dirty Boogie Review

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The Dirty Boogie ReviewI've been a fan of Brian Setzer since his days with the stray cats, and I'm still a fan. This Cd is definitely a rocker and a swinger, his style stayed pretty much the same, I'll define it as orchestrated rockabilly. There's some good rockabilly stuff here like "This Cat's On A Hot Tin Roof", "The Dirty Boogie", "This Old House", his own remake of "Rock This Town", and "Switchblade 327". The boogie and jump tunes are just as great, he does an excellent job with Louis Prima's "Jump Jive An' Wail", a really great duet with Gwen Stefani from the group No Doubt called "You're The Boss", and his own treatment to the Lieber & Stoller tune "Nosey Joe", a nice twangy feel to the Skyliners hit "Since I Don't Have You", a credible version of Bobby Darin's "As Long As I'm Singin'", and a cool rendition of the instrumental hit "Sleepwalk". If you like rockabilly and some jump boogie give this disc a listen to.The Dirty Boogie OverviewJapanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. 2009.--This text refers to an alternate Audio CD edition.

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Idle Moments Review

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Idle Moments ReviewIf you're never heard Grant Green's guitar work before, this is the place to start. Not only because Green is playing at his finest, but so his is his all-star supporting cast which includes Joe Henderson on tenor sax, Bobby Hutcherson on vibes, and Duke Pearson on piano. The Pearson penned title-cut may be my single favorite recorded cut in jazz history. Each of the aforementioned soloists does some incredible work. The piece is laid-back and languid, but with incredible soul. The rest of the tunes vary in tempo but most have the same lazy, smoky feel to them while sounding fiercely inspired.
Idle Moments also happens to sound incredible in its newly remastered edition by the legendary Rudy Van Gelder. Its one of the best sounding discs in the series even. Those of you who own the original Blue Note release should definitely consider the upgrade.
Highly recommened for anyone with an interest in jazz or those looking for a place to develop one.Idle Moments OverviewTime is suspended on these four haunting, extended tunes by this brilliant guitarist with the aid of an all-star cast. Unique in Green's discography for its relaxed, lengthy performances and almost dream-like lyricism, this Blue Note classic could well be called "Ballads for the Ages."

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Glow Review

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Glow ReviewPeter White never dissapointed me. I think his CDs are made for "Shuffle" mode. No matter what song it is, you will be listening with pure joy and happiness. Okay, here's my review:
Track 1 Chasing the Dawn. Uplifting song, great to hear when you're down, it'll bring your spirit back. 9/10
Track 2 Who's That Lady. One smooth track! 9/10
Track 3 Turn it Out. Now this is funny... how can a song be uplifting and soothing at the same time? 9/10
Track 4 Bullseye. Funky! This track is so catchy, you can't help but moving your feet/hand/head.. 9/10
Track 5 Just My Imagination. This is a great song to unwind from a hectic day. 10/10
Track 6 Bueno Funk. A little bit too repetitive, but not a bad track at all. 8/10
Track 7 Glow. Very very calm and soothing. Just imagine you're on the boat, in the middle of the ocean... 10/10
Track 8 Pedro Blanco. Very spanish-feel and unique. 10/10
Track 9 When I'm Alone. Look at the credits, he did it ALL by himself! Certainly tells you how talented this man is. 10/10
Track 10 Life Story. What a beautiful and soothing melody. 10/10
Track 11 Baby Steps. This is the song that made me furiously hunting this album. This "cute" track will make you feel all warm and fuzzy inside. 10/10Glow OverviewJapanese version featuring a bonus track--This text refers to an out of print or unavailable edition of this title.

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In a Silent Way Review

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In a Silent Way ReviewHe was sometimes called "the prince of darkness" for the nocturnal bent of much of his music, but Miles Davis and his crew gave a whole new meaning to 'late-night jazz' with In a Silent Way. This is another soundtrack for those quiet hours between midnight and dawn, but with a more wired and trippy bent than ever before. Instead of a muted piano, it features a blending of three soft electronic keyboards. An up-and-coming unknown at the time (some obscure guy named John McLaughlin) creeps in with an electric guitar; not with the wild Hendrixian solos that had electrified the rock world at the time, but with a wonderfully understated tone that only enhances the low-key quality of the whole record. The entire thing is an exercise in restraint and simplicity, not the sizzling group chemistry that would mark Miles's onstage explorations in the near future.
If there is such a thing as ambient jazz, it begins here. "Shh/Peaceful" embodies its title; the keyboards form a simple ethereal pattern, the simple cymbal and hi-hat scatter a little treble on top of it, and Miles brings everything together with his perfectly sweet touch on the horn. It's hypnotic, it's soothing, it's mostly peaceful and just a little restless. The sound doesn't become completely calming until we come to "In a Silent Way" itself, an elusive melody that refuses to stick in your head for a long time. It's heavenly and yet elusive.. like remembering a dream right when you wake up. Suddenly "It's About That Time" kicks in with a semi-startling jump and bops around a beautifully hummable bass line. We hear some actual drums for the first time, things kick into a semi-rocking but easy groove for a while, and then we eventually drift right back off into a dreamy repetition of the title theme. It's an album of soft tones and peaceful textures, an almost-surreal work that's timeless in its easy simplicity.
There's no point in mincing more words - this album weaves its own spell through being heard, and describing it in words can only hint at what the listening experience is like. The Complete Sessions box is also a worthwhile find for those already infatuated with this album's charms, but that's for a different review. The uninitiated can start right here.In a Silent Way OverviewA foreshadowing of the area between rock and jazz that he would further explore with 1970's hypnotic Bitches Brew , this was Miles' first album to feature a full-blown electric approach. Incorporating elements of classical sonata form, both of the lengthy cuts featured here defy convention with 3 distinct "movements" in which harmony, rhythm and melody take a back seat to impressionistic texture. Listen closely, and you can hear the earliest inklings of modern-day fusion on Shhh/Peaceful and the equally spacey In a Silent Way/It's About That Time .

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Common Ground Review

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Common Ground ReviewEverett Harp again did a wonderful job for his fans, thanks for being true to real Smooth Jazz......always a fanCommon Ground Overview

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Majestic Silver Strings Review

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Majestic Silver Strings ReviewI didn't like parts of this album at all the first time I listened to it. Indeed, more than once I found myself thinking "what was he thinking?" With repeated listenings, however, I started to get it.
This album is unlike anything Buddy has done before. It is far and away the most ambitious album he has undertaken in his entire career.
Yes, some of the usual suspects show up (Ann McCrary, Patty Griffin, Shawn Colvin, Lee Ann Womack, Emmylou Harris and, of course, Julie.
But then there's a bunch of folks you wouldn't expect. First, you've got Bill Frisell (one of jazz's pre-eminent guitarists whose musical roots are very broad and very deep), Marc Ribot (another world-class guitarist whose past work has been labeled no wave, free jazz and Cuban among other things - trust me, Marc doesn't fit in a box any more than Bill does), and Greg Leisz (who plays just about anything with strings exceptionally well). [Greg's steel guitar will make your skin crawl it's so good] Together with Buddy, these four men constitute the Majestic Silver Strings, which will play as a group at the Grammy Museum in LA on Thursday, March 10th (only show scheduled that I know of). Add in Chocolate Genius, a floating member group centered on Marc Anthony Thompson, a New York-based singer/songwriter, and you've got a heck of a mix.
The album (the promo copy I have been listening to) states that it is "Buddy's re-imagination of classic country songs, loaded with guitars, atmosphere, and attitude." That's about as apt a one-line description as you're likely to find. That's also why there's a bit of culture shock at first. Most of these are not typical country arrangements; indeed, some are arguably not country at all (the cover of "Bury Me Not On The Lone Prairie's" layered guitars are much more jazz and avant-garde, some of it downright dissonant at times - but it works).
As I've listened to this album I've had a lot of reactions and thoughts. There's a dark, brooding melancholy underlying some of the arrangements and singing. Some of the arrangements are reminiscent of Ry Cooder's "Jazz" album with a real turn-of-the-century 1800s/1900s feel to them ("Meds"). Some are lush and deeply layered, some are pretty stripped down and spartan. You can legitimately say that the album is a hodge-podge, but it all works nonetheless and it's cohesive as an album.
The best songs for me (and these may well change in the future) are Buddy and Ann McCrary's take on "No Good Lover," Marc Ribot's "Bury Me Not On The Lone Prairie," the upbeat, jazzy instrumental "Freight Train," Buddy and Marc's "Why Baby Why," and the simple, straightforward "God's Wing'ed Horse" by Buddy and Julie that closes the album. That said, there's not a bad song on the album, just some that aren't quite as effective as others.
I'm sure some A&R moon unit at a super-sized label would have tried to talk Buddy out of working with Bill and Marc, and possibly out of making such an album at all. And on my first listening, I might have agreed. Careful, repeated listenings, however, revealed more and more; it lives up to the old adage, more will be revealed. After 8 full, careful listenings (three with the headphones on), all I can do is shake my head and think "Buddy, ain't that ol' boy something." Indeed, he is.
This album has its flaws and faults, but they are almost completely lost in the huge shadows cast by the sheer ambition of what is attempted and the brilliance of what is achieved. There is an old saying that there is nothing new under the sun; well, this album is something new under then sun and it goes places no one has been before. This is one of the most important albums to be released this year in any musical genre. Plus it's pure pleasure to listen to.
Recommended without any qualification or reservation.
Majestic Silver Strings Overview

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Djangology Review

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Djangology ReviewMany of these tracks have very aggressive - too aggressive - noise removal. The result is more distracting than the noise would have been. Notes seem to emerge from a tissue box, without much attack.
Of course Django is always great and look how many great but obscure tracks you get. Worth the money, but unbelievably uneven sound.Djangology Overview

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Light You Up Review

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Light You Up ReviewLight You Up is the satisfying result of extensive collaboration with some of today's best songwriters, Chuck Cannon and Glen Phillips among them. Yet Mullins remains true to his own roots and signature style- his talent for connecting us to the subjects of his songs.
As with many of his previous albums, the musical style ranges from the rock-infused "California" to a soft, introspective "Blue Sky", originally recorded as part of the Thorns project; to the sultry "Light You Up"; and finally, a sprinkling of country. His current band is tight- great synergy on-stage and off. Tom Ryan's harmonies are a perfect counter-weight to Shawn's rich tones, and Patrick Blanchard continues to impress me with his nimble guitar work. You can tell these guys are having fun, making it that much more fun for the listener.
But you don't have to take my word for it: At a recent performance, Cannon noted that Shawn's interpretation of "The Ghost of Johnny Cash" is one of the few times he's been truly satified with the way an artist laid down one of his songs.
While Mullins provides enough action to sustain a casual listen, he's most satisfying when you have the time to pour yourself a cup of brew and listen-really listen-to what the man has to say.Light You Up Overview

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Best of George Benson Review

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Best of George Benson ReviewA supremely talented guitarist and an impressive vocalist, George Benson is one of the most influential and respected musicians in jazz/r&b. This hits collection compiles his vocal work, and track after track, it took me back to the glory years of the 1970s and 1980s. Classics include the Quincy Jones-produced "Give Me the Night," the catchy "Turn Your Love Around," a live rendition of "On Broadway," and the memorable "Lady Love Me." There is not one mediocre song on this set, showing the consistency of Benson's work. Granted, there are jazz musicians guilty of delivering schmaltzy elevator "muzak," but George gives us the real deal. When he sings "give me the night," we have no choice but to honor his request. George Benson is the man!Best of George Benson OverviewGeorge has been one of the few jazz artists to "cross over" repeatedly over the last two decades, and this 14-track collection has every big hit! Includes On Broadway; Give Me the Night; This Masquerade; Love Ballad; Turn Your Love Around; Never Give Up on a Good Thing; 20/20 , and more.

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Friday Night in San Francisco - Live Review

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Friday Night in San Francisco - Live ReviewI first heard this on vinyl. Properly awed, I promptly listened to all the other instrumental guitar music I could find. Now, twenty years or so later, I'd challenge critics: Name the OTHER acoustic guitar recording that even meets, let alone surpasses, the standard set by "Friday Night in San Francisco." I love Leo Kottke and Allan Holdsworth and Phil Keaggy and all the rest, but this is still the pre-eminent acoustic recording.
Here are two points to consider:
(1) Critics talk about the emotion and beauty being lost in the fireworks. Certainly the fireworks take up the majority of the CD, but listen again to the quiet moment right before the conclusion of "Short Tales of the Black Forest," where one of the guitarists even tells the rowdy crowd, "Shut up, now" (and, by the way, when was the last time you heard a live performer have to tell the crowd to curb its enthusiasm?). Or what about the haunting, eerie melody of the middle section of "Fantasia Suite"? You'll hear it in your dreams.
So, first of all, this recording does have the "beautiful" moments. But that leads into the second response:
(2) Don't miss the point! This is not supposed to be a meditative hour to play in the background while you eat your tofu meat loaf. These three guitarists clearly wanted to have fun with each other, to provoke each other to better performance, and, primarily, to blow away the listener who never thought acoustic guitar could sound remotely like this. If judged by these criteria, "Friday Night in San Francisco" deserves seven or eight stars instead of five.Friday Night in San Francisco - Live OverviewThe great guitar trio's classic original recording has been remastered.No Track Information AvailableMedia Type: CDArtist: MCLAUGHLIN/DIMEOLA/DELUCIATitle: FRIDAY NIGHT IN SAN FRANCISCOStreet Release Date: 09/23/1997

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The Sea Review

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The Sea ReviewRae's sophomore release is a major departure from her sunny day, stroll in the park debut. The material on THE SEA is melancholic but overall outstandingly beautiful. All 11 tracks convey this hauntingly elegant moodiness but in 11 different ways. Here's how.
1. "Are You Here": The opening guitar chords reintroduces the listener to Rae. Rae's opening notes reminds how honey-coated her vocals are. Later in the track, the songs takes an abrupt shift, changes key and a storm of electric guitars descend - skirting Radiohead territory.
2. "I'd Do It All Again": My personal favourite. If I had my way, NARAS should have this as a nominee for ROTY and SOTY. Simply exquisite, simply poetic. This is complex songwriting - the chord progressions are completely original and a level-up in instrumental arrangement on "Like A Star". When the song hits the bridge and Rae's voice soars, you're simply just carried away. Her vocal nuances are delicate and absolutely sublime.
3. "Feels Like The First Time": A catchy song that opens with some heavy piano tinkling. It's a mark of the chorus, that is the complete opposite of the song's peaceful verses. The groove is hot.
4. "The Blackest Lily": Wow - Rae brought on the britpop on this album too. I reckon there are 3 songs on this album in this vein, but all 3 are somewhat different. This, the first of the 3, is an all-out rocker. Completely unexpected and unforetold from her debut. A pleasant surprise.
5. "Closer": Check out the beats on this track. I dare you to tell me the groove is not sick. Reminiscent of The Artist Formerly Known as Prince both in vocal delivery and instrumental arrangement. Very sexy.
6. "Love's On Its Way": The opening verse wanders aimlessly a little, but sets the scene for the chorus. This song just builds and builds, and the layers of instruments gradually hit epic-scale. When it finally erupts in the 3rd minute, the swirling synths, soaring background vocals, heavy drumbeats and Rae's voice lifts it up. The words hit hard: [love's on its way/I hope it won't be too late] Poetic.
7. "I Would Like To Call It Beauty": Most unsurprising track of all, as it is closest to the material of her debut. Simple little acoustic track that never really gets too loud and is easy on the ear, which provides the listener with a breather after all that's happened with the first 6 tracks.
8. "Paris Nights/New York Mornings": The pace picks up once again. This is song 2 of 3 that is a throwback to the Britpop era of Blur and Oasis. Call it the revved up version of "Put Your Records On" if you like. Perhaps the most cheerful song of this collection.
9. "Paper Dolls": Song 3 of 3 of Britpop reference, and the heaviest one. Essentially a rock outing, and so catchy.
10. "Diving For Hearts": Laced with heavy guitar distortions and helter-skelter beats. Perhaps the oddest of the bunch and could signify what would happen if Rae ventured further into alternative music. It reminded me a little of Coldplay's tracks on PARACHUTES - that's a good thing because that's my all time favourite Coldplay album. At minute 3.50, unexpected chorals enter the scene to bring in the final climactic ending. I would most welcome Rae to explore this type of music in future.
11. "The Sea": A most fitting album closer. The words do much more than the song for me here, especially if you know what she's been through: [goodbye/paradise... ] This song has a bittersweet quality to it, in that the instrumentation and melody is one of happiness, while the words are sad. Rae exits album no.2, quietly and thoughtfully, with the following words: [The sea/the majestic sea/breaks everything/crashes everything/cleans everything/takes everything/from me].
I wanted more when it was all over. This is a testament to Rae's artistry and how she has matured as an artist. Top-notch production and engineering too.
My only reservation is did it take the tragic turn in her life to inspire such genius?
This album is pure perfection and in my opinion, one of the best albums released so far in Grammy's 2010-2011 eligibility period. Would be a complete shame and crime if Rae didn't book herself a slot in AOTY.
From one fellow music lover to others, don't miss out. Get this one.
Liam F
6 Feb 2010The Sea Overview

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When I Look in Your Eyes Review

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When I Look in Your Eyes ReviewWhile I'm a new fan of Diana Krall, I have to say that she's such a great talent, and I'm so glad that there's an artist like her out there making music. In this day of "Mainstream Pop", hearing someone who has real musicianship is a much needed change of pace.
The first time I saw Diana was when I was watching Jazz Central on BET a few years ago, and I was truly impressed, but I never really tried to find out anything more about her, until this year. I was searching on the Internet and I found her rendition of "Christmas time is here". I was totally blown away, and I had to find more.
From the very first song, "Let's face the music and dance", with its steamy bossa nova, smokey delivery from Diana, and smooth string accompaniment, it's really hard to put this album down. All of the arrangements are extremely well done, and Diana brings out all of the emotions of each song like she's lived through them all. Especially the title track. I couldn't stop listening to it. I just hit the replay button, and fell into the lush sounds of the strings, the warm guitar, while I fell in love with Diana's soothing, comforting voice. VERY few albums have ever done that to me before, and I can't wait for her next effort so she can do it to me again.
Now I can understand that people are mad that Diana doesn't show off her great piano chops, and those who claim that she's selling out, but I have to totally disagree. Diana doesn't have to go the route of so many artists and use their albums to display how great they are; she just wants the music to show for itself. As for the selling out thing, she is more popular, yes. Being nominated for Album of the year proves that, but can't an artist be allowed to grow, and even expand out of their genre ever so slightly? This album is NOT Pop and ESPECIALLY NOT elevator music. Having strings on a jazz album is also not a sign of selling out either. While the strings were certainly not needed, as she sounds just as great with just her trio, the strings just added a whole other dimension to the songs. I'm glad that she went that route, as it made for a wonderfully splendid album.
It couldn't come any more highly recommended. Go get it now. And while you're at it, newcomers should go and get her other albums as well, so you can see that her talent isn't just a one-album affair; it's the real deal.When I Look in Your Eyes OverviewJapanese edition of the accomplished Canadian jazz pianist/ vocalist's 1999 outing with 'P.S. I Love You' added as a bonus track, for a total of 14 selections.--This text refers to an out of print or unavailable edition of this title.

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Nat King Cole Trio: Instrumental Classics Review

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Nat King Cole Trio: Instrumental Classics ReviewIf like me you came to jazz after 1955, chances are you're quite familiar with Nat the pop singing star but know far less about his piano prowess. This is the album that finally set the record straight for me--he was above all a talented, creative jazz pianist whose sensual voice seduced not only the public but Nat as well into listening exclusively to its promises of fame and fortune. Had he not sung a note, he would no doubt have taken his place right alongside Teddy Wilson and Art Tatum. In fact, listening to him on this album is so much like hearing Oscar Peterson (who ironically inherited Nat's singing voice as well) that I've had to revise my life-long assumption that Oscar was above all a descendant of Tatum. The Cole lineage seems ever more traceable, especially when you consider that one of Oscar's favorite jazz performances was "Easy Listening Blues," one of 18 tracks on this CD.
Twenty-five years ago I had a chance to have a brew or two with Monty Alexander. When I asked him if Oscar was a major influence, he responded: "Yes, but not as much as Nat." Now I finally understand what he was talking about.
(Note: No doubt Capitol will replace this 1992 reissue with a remastered version minus the surface noise. Bear in mind, however, that there's always a trade-off: Eliminating "scratchy" sounds also erases high-frequency musical information.)Nat King Cole Trio: Instrumental Classics Overview

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The Royal Scam Review

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The Royal Scam ReviewFrom the first note I could tell the remastering done on this classic album was top-notch. The incredible drums are so crisp and clear that it sounds like you are standing in the booth with them. This is the one that sort of flew under the radar because it lacked that "monster" hit song that was so important to the record promotion guys but it is one of their best ever. The songs are quirky, as usual, but the guitar, keyboard and horn performances are awe-inspiring. I've had this album since it came out on vinyl but listening to this new, upgraded version makes it seem like a whole new collection of songs. Wow.The Royal Scam OverviewThis scam went off without a hitch, reaching #15 in 1976 and hitting the charts with Kid Charlemagne and The Fez . The Dan are at their wry, sardonic best here, with gems like Green Earrings and Haitian Divorce -and this reissue has complete lyrics and original artwork for the first time since the album's original release!

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Larry & Lee Review

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Larry & Lee ReviewThere is something special about two guitarists trading licks back and forth. Funny how four years after this album Larry Carlton would end up replacing Lee Ritenour in the group Foreplay. This album will not disappoint you if you're a fan of either guitarist. Both men are incredibly talented with the guitar, and play with real drive and emotion.
The album starts out with a great tune in "Crosstown Kids", which prepares you for what's to come. "L.A. Underground" really steps it up with Ritenour leading the way, breaking in several places to give Carlton a place to play. On the cut, "After the Rain" they lay back and play a very smooth piece before turning it up again on "Remembering". Throughout the album, these guitarists use each other to springboard to new levels of playing. They take turns expanding on an idea, combining their styles to really bring out some fun music.
There is some very good stuff on this album. Ritenour's smooth playing is counterbalanced by the bluesy edge of Carlton's. The complement is enjoyable, and it gives quite a coloring to the music. Guitar fans should find this album very impressive. It is one that I keep revisiting.Larry & Lee Overview

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George Benson and Al Jarreau - Givin' It Up Review

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George Benson and Al Jarreau - Givin' It Up ReviewThough it has taken three decades, the pairing of George Benson and Al Jarreau - peerless music legends who both sprang from jazz into the international R&B and pop mainstream - was pure destiny.
The parallels of their career paths, musical ideologies and fans bases would seem to have deemed it so many moons ago. Both have earned multiple Gold and Platinum albums, totaling millions of copies sold, along with coveted Grammy awards in both the pop and jazz categories. And both gentlemen are consummate and engaging entertainers, each capable of selling out an all-nighter by himself and still barely denting his catalog of timeless classics.
The result is a landmark, 13-song album. Painstakingly prepared by Benson and Jarreau, "Givin' It Up" touches on every style and mood fans could imagine from this stellar event of musical matchmaking.
" Givin' It Up" crackles with inventive covers of standards ranging from the 1940s (Billie Holiday's "God Bless the Child"); the 1960s (Sam Cooke's "Bring it on Home to Me" featuring a surprise cameo by pop legend Paul McCartney); the 1970s (Seals & Crofts' "Summer Breeze"); and the 1980s (Daryl Hall's "Everytime You Go Away"). They also show respect for the music of today, inviting neo soul diva Jill Scott to sing along on "God Bless the Child," and turning in a sumptuous instrumental rendition of singer/songwriter John Legend's " Ordinary People" with Marion Meadows on soprano sax.
"Givin' It Up" also features sizzling jazz jams on two Miles Davis classics: the classy swing of "Four," with lyrics by the great Jon Hendricks and featuring Stanley Clarke on upright bass; and the lowdown blues of "Tutu," rewritten as "Resurrection Blues" by Jarreau and set to Marcus Miller's dynamic original music (a homage to Bishop Desmond Tutu), featuring Miller himself on electric bass and special guest Herbie Hancock in scorching form on acoustic piano.
Proving yet again why he's one of the most talented and popular R&B vocalists working today, Jarreau pens lyrics and sings on one of Benson's biggest hits, "Breezin', and offers a poignant reconciliation song titled "Let it Rain," which also features the evocative muted trumpet of Chris Botti.
The album is a masterful collection of smooth, seductive grooves and inspired reinterpretations of Benson's and Jarreau's most classic songs.
The lively interplay between Benson's singular guitar work and Jarreau's unmistakable vocals give this jazz collaboration a truly one-of-kind sound and delivers harmonic depth and tonal richness which will garner appreciation from pop and jazz aficionados alike.
Whether you're a long-time fan of Benson and Jarreau or experiencing their musical genius for the first time, this album is a treat for music fans everywhere.George Benson and Al Jarreau - Givin' It Up OverviewTwo of jazz music's most well know performers team up for the first time on their Concord Music Group release 'Givin' It Up.The first single 'Morning is already at smooth jazz radio, with the single 'Let it Rain' going to Urban AC and AC.The CD alsofeatures special guests Herbie Hancock, Paul McCartney, Jill Scott, Chris Botti, Patti Austin, Marion Meadows and Marcus Miller.The duo will be on tour throughout the fall starting in Philadelphia and ending in Los Angeles.

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Classic Early Recordings in Chronogical Order Review

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Classic Early Recordings in Chronogical Order ReviewEven if this weren't such a great deal (and it is!), this belongs on every jazz collector's shelf. Simply the best overview of Django's oeuvre, with astonishing, soaring, magical (daring even!) virtuosity by the guitar master and his counterpart on the violin, Stephan Grappelly.
Considering the price, and that no one had yet reviewed it here, I was skeptical about the quality--but the sound is fine! There was a little too much chug-chugging accompaniment on the first CD, but this was apparently the style (listen to some early Ellington), and the rhythm section loosens up more later.
It's true that there is no bound booklet as we've come to expect from box sets, but I was pleased to see informative liner notes and credits with each CD. Much of the music is taken directly from the 78s of such noted archivists as Robert Parker and John R. T. Davies. Ted Kendall (the remastering engineer and force behind this compilation) notes that he "removed as much extraneous noise as possible without cutting into the music but have otherwise attempted no 'enhancement' of the sound--it would only obstruct the music anyway." Good decision!
Whether you've been a longtime fan or discovered Django Reinhardt through Woody Allen's "Sweet and Lowdown," this is an immensely enjoyable collection. Buy it soon!Classic Early Recordings in Chronogical Order Overview

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Jimmie Vaughan-Plays Blues, Ballads & Favorites Review

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Jimmie Vaughan-Plays Blues, Ballads & Favorites ReviewAlright now, Im diggin it. Im a big JV fan, love his sound and style, and its here in spades. This album has possibly the best sound of any of his ablums. It sounds really off the cuff and live, in the best way. Very raw, bright and loose. The horn section is hot, the rhythms are "butt-rockin"! and of course the guitar is a hot wire putting electricity to the whole thing, although his tone is not quite as overdriven or up-front in the mix as his other albums. Lou Ann Barton even duets on a couple tunes, the whole band sounds great and the production is really live sounding.
I read in some magazine that Jimmie recorded this as a grouping of singles, one or two tracks here, a track there, all in Austin, just like they used to do it in the good ol days. That approach might be why it all sounds so vibrant and energetic. It definitely puts you in a smokey old barroom somewhere out there when you close your eyes. Sounds you'd hear suckin down a few brews in some greazy little bowling alley, feelin good!
These are all covers of heroes like Roscoe Gordon and Roy Milton even Willie Nelson, and of course theres a nod to lucky charm Jimmy Reed, and 1 original Vaughan instrumental "Comin and Goin"
If you like Jimmie Vaughan youll like this, hell you probably already got it. If youre just figuring things out, this is as good as any place to start, with the exception of "The Essential Jimmie Vaughan" which has a little of everything on it.
Highly recommended, show some support for one of the last true Texas Bluesmen left!Jimmie Vaughan-Plays Blues, Ballads & Favorites Overview

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