Sweet funky Q for the 70s -- easily one of the coolest albums ever from Quincy Jones! The album's got a very heavy electric vibe -- one that's kind of a laidback take on the styles that Jones was forging in some of his 70s soundtrack work -- served up with massive work on the keyboards from Dave Grusin and Bob James, the latter of whom brings some of his own CTI vibe strongly into play! The basslines are great too -- often dipping, stepping, and turning wonderfully -- keeping things laidback and mellow, but always making for some sort of a groove, even on the slower tracks too. There's just a bit of vocals on the record -- handled by Valerie Simpson on two tracks, and Quincy on another -- but the main focus here is on the instrumentation, which is completely sublime. Titles include Quincy's great remake of "Summer In The City", an oft-sought sample track -- plus versions of "Superstition", "Daydreaming", and "You've Got It Bad Girl" -- and the great originals "Chump Change", "Love Theme From The Getaway", "Eyes Of Love", and "Sanford & Son Theme".
When a CD is titled Sangria, one automatically assumes that there is going to
be a strong Spanish influence. Sangria wine, after all, is as
quintessentially Spanish as flamenco, bullfights, paella, the Prado Museum,
Pedro Almodóvar films, and scorching heatwaves in Sevilla. But the Spanish
influence isn't as strong on this early 2009 release as its title indicates.
Regardless, this is an excellent album from pianist Mariah Parker, whose work
is best described as world jazz. Parker brings a wide variety of influences
to Sangria, ranging from Indian and Middle Eastern music to Afro-Cuban salsa
and Brazilian samba. She obviously appreciates the Eastern-influenced
spirituality and mysticism of John Coltrane, Yusef Lateef, Pharoah Sanders,
and Lonnie Liston Smith, but her composing also contains elements of everyone
from Pat Metheny to Chick Corea. And while Spanish flamenco is an influence
on Sangria, it is only one of many influences. Sangria is an ambitious and
challenging album, although it is also relatively accessible. In some cases,
ambitious and challenging can mean abstract and ultra-cerebral, but melodic
Parker originals such as "Between the Lines," "Debajo de la Lluvia," "10th
Journey" and "Waterwheel" are fairly easy to absorb -- even if one isn't a
seasoned jazz listener. Parker, of course, didn't invent the idea of world
jazz; New Orleans pioneers like King Oliver and Jelly Roll Morton were
influenced by world music back in the 1910s and 1920s. But she keeps it
moving forward; Parker takes chances, demonstrating that the fusion of jazz
and world music still has plenty of possibilities after all these years --
and a global perspective serves Parker well throughout the rewarding Sangria.
1. Thank You (Falettin' Me Be Mice Elf Again)Sparks recorded seven albums of his own and played on over 100 other albums. As a session man for Blue Note and Prestige Records, Sparks laid his signature guitar work on many other musician’s albums without ever being in spotlight. It was during this time that Melvin defined the jazz-guitar sound of a generation.
Melvin Sparks is still a much sought-after studio player, both new and old talents seek him out now more than ever. He continues to perform with the greats of this genre such as Leon Spencer Jr., Mike Clark and Idris Mohammed and is now breaking out his legendary guitar wizardry with many younger bands and artists such as Galactic, The Greyboy Allstars, Karl Denson's Tiny Univers, Derek Trucks and Robert Walter's 20th Congress.
Melvin is geared up to show us all what he does better than anyone else. Groove hard and in the pocket. Melvin Sparks has perhaps the most inspiring and soul-energizing guitar chops on this planet or another. He is admired by many performers, and audiences old and young alike, but continues to be a hidden treasure for music fans worldwide. He is Soul-Jazzy and Funky to the core!
1. This Is the Moment
One of the rarest albums on the Groove Merchant label -- and one of the best! Ramon Morris has a sweet tone on the tenor that works very well with the electric piano in his tight little combo -- grooving with a style that's like the best Black Jazz funk records of the time -- mixing together bright notes, funky rhythms, and plenty of great chord changes! Cecil Bridgewater's on trumpet, and the band has a really righteous feel -- with lots of real soul and thoughtful playing mixed into the jazz funk grooves of the record. Massive -- with titles that include "Sweat", "Lord Sideways", "Sweet Sister Funk", and a nice version of "People Make The World Go Round".
Europe's number one Afro Cuban Jazz group 'Snowboy And The Latin
Section' release their 15th album, entitled 'Communication'.
Although continuing to perform many concerts and festivals around the
world - from Australia to Japan, from Ireland to Greece - Snowboy (along
with thousands of other musicians) became very disillusioned with the
severe state of the music industry and took a break from recording.
After four years and with renewed optimism the UK's top Conga player
(Conguero) and his all-star band have delivered an absolutely joyous and
exciting album with power-house world-class performances. They consider
it their best recording in Snowboy's 23 year recording career.
Along with the other seven strong original compositions here, the
highlight of the album is an original composition by the acknowledged
'King Of Latin Music' - Eddie Palmieri. Mr. Palmieri doesn't write for
anyone else but after becoming introduced at Yale University six years
ago by Professor Robert Farris Thompson - one of the world's leading
authorities of Afro-related Music, History and Art - they have become
firm friends, and Eddie wrote a Mambo in Snowboys honour called
'Snowboy's Special'!
Along with that very exciting song, this Afro Cuban Jazz album covers
the Cuban styles of Mambo, Salsa, Palo, Descarga and Mozambique, making
this the bands most versatile album to date.
San Diego Music Award Winners for Best Jazz Album (2007), ON THE ONE walks alongside live acts Karl Denson Trio and the Greyboy All-Stars when it comes to export music from America's finest city. With their debut album “Love Addiction” recently picked up by the legendary Japanese label, P-Vine, through a licensing deal with Velour (Soulive / Lettuce), 2008 will see ON THE ONE touring North America and the Far East in support of their record. Drum King John Staten (Karl Denson’s Tiny Universe) teamed up with long time friend and sax aficionado Jesse Molloy (Giant People) to create ON THE ONE in the summer of ‘06. Bassist Andy Irvine (Giant People) and the addition of guitarist Pete Lombardo square this funky soul rock quartet. With music industry heavy hitters calling him one of the best drummers in the business, Staten’s hard hitting hip-hop beats drive ON THE ONE’s sound. Sax, groove bass, and effortless guitar team up to bring generations of music lovers to the dance floor. Don’t miss the Funkdown.
1 Soul Intro
As one of the reigning elder statesmen of jazz, Roy Haynes has his pick of the finest sidemen in the world. His assembled entourage for PRAISE is an ensemble worthy of Haynes' unequaled strengths as a drummer and bandleader. The horn line for ... Full Descriptionthe tracks that feature the entire group include the young titans David Sanchez (tenor), Kenny Garret (alto) and Graham Haynes (flugelhorn/cornet). Surrounding himself with rhythm section-mates Dwayne Burno (bass), David Kikoski (piano) and Daniel Moreno (percussion), Haynes is in full stride in what some would call the twilight of his years. Those that say that, however, would only need to listen to this master's powerful drumming to realize their error.
Opening with Chick Corea's "Mirror Mirror," Haynes directs his charges with a bouncing waltz beat that jabs and twists through the twirling progressions. The Middle Eastern-flavored "After Sunrise" follows with hypnotic chanting that leads into a mid-tempo groove charms the listener like a snake. Standards such as the swinging "Israel" and the pretty ballad "The Touch Of Your Lips" make familiar platforms for Haynes and his younger counterparts to jump into some exceptionally creative interplay. Of special note, the Haynes/Garrett duo on Bird's "My Little Suede Shoes" is stunning, to say the least. Other Standout tracks include the smooth trio groove of McCoy Tyner's "Blues On The Corner" and Haynes' melodic solo spot "Shades Of Senegal."
W/David Sanchez,Eeny Garrett, Graham Haynes,David Kikoski
Recorded at Systems II, Brooklyn, New York from May 3-5, 1998. Includes liner notes by Ken Micallef, Chick Corea, Pat Metheny, Dave Kikoski and Joshua Redman.
Personnel: Roy Haynes (drums); Kenny Garrett (soprano & alto saxophones); David Sanchez (tenor saxophone); Graham Haynes (cornet, flugelhorn); David Kikoski (piano); Dwayne Burno (bass); Daniel Moreno (percussion)
1. Hardgroove 5:31
01. Gulab Jammin
Garaj Mahal is a four piece band, based in the United States, playing a fusion of jazz, Indian music, rock, and especially funk: Kai Eckhardt (bass), Fareed Haque (guitars), Alan Hertz (drums), and Eric Levy (keys). The band was formed in 2000 with the largely fulfilled expectation that the technical virtuosity each band member has been known for would bring about great music. They are one of the modern mid to low-profile bands that allow their music to be recorded live at shows, and distributed in torrents, and musical archives
Mondo Garaj (Eckhardt) - 5:33
1- The Shadow
1. Semos 9:58
1.Make Them Dance.
1. Illusion
1. New Orleans Music
T.J. Kirk may not be remembered in the annals of jazz/fusion history, but the quartet's story is uniquely its own. Formed by eight-string guitarist Charlie Hunter as a side group to his own self-titled and San Francisco-based band, T.J. Kirk was a cover act that took its name from the three artists making up its catalog: Thelonius Monk, James Brown, and Rahsaan Roland Kirk. Hunter's recording career had started in 1993, and he brought his group's drummer, Scott Amendola, into T.J. Kirk to join the more conventional six-string guitarists Will Bernard and John Schott. The band wanted to be called James T. Kirk, but settled for T.J. Kirk for their 1995 self-titled debut CD when they didn't get permission to use the original moniker from Star Trek creator Gene Roddenberry's estate. The album gave Hunter license to play in styles even more funky than with his own ensemble, as the eight-string guitarist often played bass lines and guitar melodies (usually simultaneously) and even added keyboard-like textures on his customized Novax instrument. Combined with Amendola's muscular drumming, Hunter's versatility allowed Bernard and Schott the freedom to re-work their namesake trio's classics like "Soul Power," "Bemsha Swing," and "Serenade to a Cuckoo." The group's 1996 follow-up, If Four Was One, was even better. T.J. Kirk had a knack not only for mimicking Brown's soul epics ("Get on the Good Foot," "The Payback"), but also making danceable the jazz standards of Monk and Kirk ("Damn Right I'm Somebody," "Ruby, My Dear," "Four in One"). Yet Hunter, never one to stand pat, was making changes in his own band's career. When he covered reggae legend Bob Marley's time-honored Natty Dread album, instrumentally and in its entirety, in 1997, and in the process made one of his best CDs, T.J. Kirk was essentially finished except for the live bootleg recordings. The death of Hunter's saxophonist Calder Spanier in an auto accident later in the year -- and Hunter's decision to move from the Bay Area to New York in 1998 -- officially ended the reign of T.J. Kirk. But as anyone who's heard their releases knows, T.J. Kirk is the unofficial captain of jazz/fusion's all-time cover bands. Further evidence appeared in 2005 when the Rope-A-Dope label issued a 1997 concert by the band as Talking Only Makes It Worse. ~ Bill Meredith, All Music Guide
1. Soul Power (4:25)
1.Damn Right I'm Somebody (5:07)
01. Soul Power
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