RHYTHM & JAZZ August 1994 Vol. 1, No. 2
Copyright (c) 1994 Dan Margules. All rights reserved.
LETTER FROM THE EDITOR
Here we are with our second issue of RHYTHM & JAZZ. For those of you
who saw our premiere issue and took the time to write to us, we thank you
for the wonderful comments we received. Only from your feedback can we
know how to improve this electronic newsletter. In this issue, you'll
notice we've included more reviews, plus a short listing of other new R&J
releases we've heard about. This expansion comes courtesy of your
suggestions.
Frankly, R&J is YOUR newsletter. It's put together for you, the
listener of contemporary instrumental music. Keep letting us know what you
like and what you don't like.
This month's issue features an exclusive interview with guitarist Ric
Flauding. The composer of the theme song from Pat Boone's "Gold Coast"
TV
show makes his recording comeback this month after two outstanding solo
CDs
on Spindletop in the late 80s. I've known Ric for a long time and I think
you'll find his music highly enjoyable and our discussion below quite
interesting.
LOOKING FOREWORD: Mark Johnson, the funky sax player we reviewed last
month, has officially joined the group Special EFX. He plays on nine of
the ten tracks on their upcoming CATWALK, to be released August 23rd on
JVC. With last year's demise of Nova Records, many extremely talented
artists are looking for a new home. Fahrenheit Records, a new label out
of
Denver, is doing a good job picking up some of them. They already put out
a fantastic new CD by Dotsero and will soon be offering a compilation of
tracks from trumpet and flugelhorn player Tony Guerrero's three albums,
to
be followed by an album of all-new Guerrero material later this year.
Guitarist Pat Kelley, also a former Nova all-star and fresh off a George
Benson tour, will resurface soon on Positive Records. Happy listening!
Dan Margules
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ULTRA! - THE SMOOTHEST AND THE COOLEST by Wayne Radcliffe
NORMAN BROWN - AFTER THE STORM (MoJazz), 60:15
Motown took great care in finding the perfect artist to launch their jazz
label, MoJazz. The label's first release, JUST BETWEEN US, introduced
the world to the breezy, accessible stylings of Norman Brown. His second
CD, AFTER THE STORM, "actually shows off more sides of my music in
terms
of grooves and styles," says the guitarist. "I produced the CD
myself
and I was able to get sidemen who gave the music sympathetic
interpretations." Brown began playing R&B and jazz in Kansas City
clubs
at ten years old, drawing inspiration from many styles. "I heard
everything from gospel to country and my favorites were Jimi Hendrix and
Wes Montgomery."
Brown's nimble fingerwork on the electric strings will find favorable
comparisons with George Benson, especially on uptempo groovers like "Take
Me There" and "Lydian". His gift for melodic expression seems
effortless
as the disc displays one gem after another. This super fine CD also
features a bit of Brown's scat and vocal skills, exceptional percussion
by Darryl Munyungo Jackson, some exciting horn charts, and a sensual
cover of The Isley Brothers' "For The Love Of You".
MICHAEL GETTEL - THE KEY (Narada Equinox), 56:06
RETURN (Sona Gaia, 1990), with its raw production and rustic
instrumentation, exposed the melodic heart of this Seattle-based pianist
whose infectious music was almost guaranteed to be embraced by New Age
fans. As Gettel's voice emerged in a slicker, more electronic setting,
his still exquisite tunes became even more accessible to the public.
"I stretched out on this project, used more musical diversity, and
maybe
I left myself a little emotionally exposed," says Gettel of his latest
release. "It's all about relationships and the ways we navigate through
them."
Navigating through the sonic tapestry of this CD is an absolute pleasure.
THE KEY opens with an intimate piano solo barely hinting at the lushness
to come on the hopeful "Turning Of A Key". Paul Speer's electric
guitar
adds a dark side to "Breaking The Silence" and "The Awakening".
The
music beautifully juxtaposes contrasting moods of mystery and serenity
all at once. The bright strings and winds on "When Hearts Collide"
and
the haunting bass/vocal duet on "Letting Go" are also highlights.
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FEATURE STORY
EXCLUSIVE INTERVIEW WITH RIC FLAUDING! by Dan Margules
Like some of the artists mentioned in my letter at the top of this file,
guitarist Ric Flauding, a former recording artist for the now-defunct
Spindletop Records, has been unheard for far too long. In the four years
since his last CD came out, Flauding has been keeping busy and staying
involved in music by doing arrangements and original orchestral works for
various projects. Coming back to jazz now, Flauding is very happy with his
long-awaited, new release, LOVE WAS DIFFERENT THEN. We caught up with him
last month at Studio One in Anaheim, California, part of the audiophile
label Ric now records for -- Trompe l'Oreille, which is French for tease
or
tickle the ear.
R&J: Can you bring us up to date on where you've been in the four
years since the release of LETTERS?
FLAUDING: [thinks...] I'm only hesitating because I have to go back a
few years. It's getting harder. I took a big break from the
playing two years ago. Spindletop ceased to exist. Nobody was
signing. Everything came to a standstill and I felt like I was
butting my head up against a wall. I finally said to myself, "I
need a break, I need to go somewhere else." And I did. I still
do, as I have done for years, a lot of arranging and orchestrating
for people. That's how I met [label owner] Trent [Wilson],
through some of that work. I just finished doing six orchestra
pieces straight, four which were original pieces and two which
were arrangements of hymn tunes. One of the originals was called
"The Great Sea Overture," which I wrote on commission for the
city
of Dana Point for an overture for an event they had. I like the
pieces. But I woke up and I said -- as I much as I like all
different kinds of music, I still feel more connected to what we
call the jazz market than any other market. And I needed to
perform again. Yeah, it's more work. The simplest thing is to
just write and never touch an instrument the rest of your life and
never have to practice. But I still feel like I need to be
connected to the performance aspect of music. I feel strong about
this analogy: I have kids, and not performing feels to me like
having kids and not raising them.
R&J: So then what happened?
RF: I did something I haven't done in a long time. I boxed up all my
CDs and LPs and anybody's influence and said, "I'm going to not
listen. I don't care what radio's playing or not playing. I
don't care who's getting signed and who's not." I don't mean this
in a negative way. I mean this in a positive way. I felt it was
time to just sit down and do what I would do if I were stranded on
an island somewhere. And I needed that. I really needed that.
That was a turning point. It wasn't a single day or a single week
or a single month. It just was a period where I said, "This is
what I need to do." That was a good thing for me because I
started writing things I wanted to do. A lot of the stuff I'm
talking about, you haven't yet heard. I have enough stuff right
now ready to go for another album, aside from LOVE WAS DIFFERENT
THEN. It was kind of a slow process. I'd do maybe a piece, set
it aside. Then, as always, do some things that pay the bills. Do
another one, set it aside, and kind of found myself with enough
material I really was happy with.
R&J: Is hiding CDs a regular writing technique for you?
RF: No, it hasn't been. I just really want to be connected with who I
am and if I'm not something, just walk away from it. Maybe that
sounds like an extreme way to do it to some people. My wife
thought so. But I'm the way I am. I needed to literally get them
out of my hand's reach. For me it's been real good. It's
probably one of the best things I've ever done. It's a good and a
bad thing. On the one hand you want to keep up with things, on
the other hand, I really want to be focused and offer that back to
people. If somebody puts fifteen bucks down on this CD, I'd like
to be able to say, "This is who I am. This is what I do."
Whether it's not this or not that is not important. It is what I
am and that's all I can offer.
R&J: Your first album, REFUGE, was centered mostly on synthesizers.
The second one, LETTERS, switched focus to your acoustic guitar
skills. Very sensitive tunes with some saxophone from Sam Riney.
I get more of a band feel out of the new one, LOVE WAS DIFFERENT
THEN. Everybody has equal time.
RF: I'm glad you said that, because the things I'm doing right now,
they're very band-oriented. The past three things I've written
have been specifically written for five people. Not five exact
individuals. Guitar, keyboards, bass, drums, and saxophone. On
my newest stuff, I was actually gonna drop the sax. Some of that
was just economical because it's easier taking four people out [on
the road] than five. But then when I started giving thought to
the fact that I've got so much sax on that [older] stuff, for me
to take that instrument out, a lot of how I think and how I write
would not make sense. So I don't care how much saxophone's out
there, it's still gonna be in my band. But what I'm trying to do
in the newer thing, is I'm trying to use the saxophone like
another member of the band. Not like, "Okay, here's another sax
song," where it's the sax beginning to end. I know there's a lot
of that out there and that's fine. I'm not criticizing it. In
this band, what I really want to do is five people interchanging,
inter-working together. They all have their moments for solos and
they all have their moments for non-solos. That includes myself.
R&J: Then you must be practicing again!
RF: I've been practicing more than I ever have before. I used to
practice a lot. Up to sixteen hours a day. I'd lose sleep over
it. Then, when I got into writing I thought I'd dedicate myself
exclusively to that. This goes back a lot of years. At that
time, it was either play or write. So I chose writing. The past
several weeks I've been really buckling down. Nonetheless, no
matter how much chops I might regain, or whatever, I still want to
structure these things I'm doing now like it's a five-piece. The
sax will be there but it won't be beginning to end all over the
place. And there will be moments, compositionally, where the sax
will be like any other orchestral instrument. It will be blended
in.
R&J: Tell me about "Hawaii Bound". That's my favorite tune
on the new
album.
RF: OK. Just before LETTERS came out in September of '90, I was a
part of a group of people that took my son and some other kids
over to Hawaii to play some baseball games. I was like an
assistant coach. So we took this team over to Hawaii, and the
name of this team was Hawaii Bound. It's funny because the music
doesn't really have a Hawaiian sound. So anybody reading this
must think it has pedal steel guitars and stuff.
R&J: The mood fits the "Bound" part more, capturing the excitement
of
being on your way there. Did you write it on the plane?
RF: [laughs] No. The main guitar riff I had actually started a few
days before we left. And when we came back I completed it rather
quickly. It's one of those pieces, I've told many people before,
I do very little writing at the guitar -- mostly I write at the
piano -- but it's one of the few pieces in my catalog that was
really written for the guitar. That whole opening lick is so
guitar oriented. In some sense, I'm proud of that. "Leslie" was
that way, off of LETTERS, and "By Myself" was. But most of the
stuff I do, the guitar kind of comes in after the piece is
written.
R&J: When you sit down to write, do you approach the song
academically, or is it more from an emotional level?
RF: It's a combination and it depends who I'm writing for. If it's
for my own album, then that's one kind of thought process. If
it's a work for hire, then something is already provided and
you're adding to it. For me in my own work, there's times, Dan,
when it comes in a flash. It just happens. There's other times
when you chisel, chisel, chisel. This thing I just finished, I'm
very, very happy with, it was a chisel. It was like, I got a
little bit, I worked, I sit down and I sketch, I draw things out,
I turn themes upside down, I run them in retrograde. If you saw
my desk, I got manuscript paper all over, I sketch, sketch,
sketch. I basically try to take something and I tear it apart and
see what I've got and then put it back together and chisel. Like
I said, other times it's just a flash.
R&J: When you were growing up, everyone in your family played a
musical instrument. Do they still?
RF: I'm the only one who pursued it professionally. None of my three
older brothers play professionally. My mom doesn't play anymore.
They all did. My mom played organ, played trombone. We're from
Elkhart, Indiana, where they made a lot of horn instruments.
Everybody had to play a trumpet or trombone. I had to play
trumpet. It was my first instrument. My brother directly above
me, Kenton in Philadelphia, he doesn't play professionally, but he
still picks it up. I still think he's the most talented one in
the family. He plays guitar, he's played bass. He's an
incredible lyricist. What he does now, he teaches art. He's an
artist. He was a published poet when he was in 6th grade. I
still remind him of that.
R&J: Out of people you haven't worked with yet, who would be in your
fantasy band?
RF: [hems and haws] Let's start with bass. And really, I'm just
grabbing here. If you ask me this tomorrow it could be somebody
different. I'll just go with my gut instinct as it exists right
now, and this is only because I happened to be listening to the
Weather Report album MR. GONE. Remember that song "Punk Jazz"
by
Jaco [Pastorius]? It was the only song on the album I really dug
years ago when that came out. That guy really had a sound. I
didn't know the man. It just hit me how unique that sound is.
He's a tremendously great bass player. For some reason that
really hit me. Another guy I really like is Eddie Gomez. Let's
go to drummers. I can't say anybody's my favorite, I hope that's
clear. But if I had to pick, I would probably say Will Kennedy
[of the Yellowjackets]. I'm a big 'Jackets fan. Which probably
leads me to my keyboards. I have to say [Yellowjackets'] Russ
Ferrante. I just really love his playing. I like the way the guy
thinks in his playing. Of course there's other piano players I
like, like Bill Evans. Sax is not much easier. You know who I
really like? I don't want this to come off like a promo to buy
the album -- oh yeah, the question was not counting people I've
worked with. Boy, that's tough, because my two favorite people
I've worked with. Brandon Fields has always been one of my
favorite players. [Eric] Marienthal I love, too. I like guys
that play with a tremendous amount of fire and passion and I think
both those guys do. I don't like safe sax. [laughs] I didn't
realize what I was saying, there. But take it literally. It's
the one position in my band that I don't want somebody to be safe.
Some of my stuff, not all of it, some of it's very simple. I
don't mind simplicity at all. But when you mix simplicity with
lack of passion, you get something I don't like.
R&J: What are your long-term, life-long goals?
RF: To stand before God and have him say, "Well done, good and
faithful servant," is my life-long goal and that's the truth. But
that aside, I hope there's always something there to keep me
humble. I'm not saying I always want to be poor, or I always want
to be struggling. No. I'm human. I'd like to have certain
things. But I hope there's always something that propels me, that
keeps me from thinking I've arrived. If God doesn't grant me
financial rewards and that's His means of doing it, then so be it.
I'm glad with that. I guess at this point I'd just like to be
able to consistently put things out that I feel good about. I
would like perform and promote it. That's not just to meet record
company requirements. As I said earlier, I mean it, I want to
feel connected to what I want to do. I want to go the distance
with the music. That's really it. If in the process I can pay
the bills and do all that with a certain amount of ease, then that
to me is just God granting me the frosting on the cake. I've
worked towards that.
R&J: It's great to have you back, Ric! Thanks for chatting with us.
RF: It was my pleasure.
NOTE: Please see the end of this file for information on how you can get
Ric Flauding's latest CD, LOVE WAS DIFFERENT THEN, for free!
RIC FLAUDING DISCOGRAPHY:
REFUGE (1988, Spindletop)
LETTERS (1990, Spindletop)
LOVE WAS DIFFERENT THEN (1994, Trompe l'Oreille)
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NEW RELEASES by Bethany Springs
JOE MCBRIDE - A GIFT FOR TOMORROW (Heads Up International), 50:49
GROOVE: Texas-style rhythm & funk with piano and synthesizers, featuring
guests Larry Carlton and saxers Dave Koz and Kirk Whalum. Production
emphasizes McBride's electric pulses surrounding his invigorating
ivory melodies and Joe proves to be a capable R&J singer on several
tracks.
HIGHLIGHTS: Memorable, cookin' originals "An Evening In Dallas"
and
"Secrets"; hip cover of pop tune "Walking In Rhythm";
Carlton's
appearance on the biting melody of "Messenger"; strong vocal tune
"World To Me"; Joe's overdubbed doo-wap background vocals, especially
sans accompaniment on Take 6-like "Everybody Needs Love".
ALSO CHECK OUT: Joe Sample; Kim Pensyl
BIRDS OF A FEATHER - ABOVE THE CLOUDS (BrainChild), 49:06
GROOVE: Side project for keyboardist Dan Siegel features snazzy melodies
and distinctive lead performances by saxman Boney James and guitarists
Allen Hinds and Carl Verheyen. Pleasant and midtempo, with lots of
tasty hooks to chew on.
HIGHLIGHTS: Siegel's nifty organ base and solo on "Head To Toe";
extra
dimension added to breezy "See You Soon" by Siegel's wordless
vocal
part; dreamy title cut, with Boney's soprano ten times sweeter than
Kenny G; spunky closer "Durango".
ALSO CHECK OUT: Siegel's GOING HOME (Epic) and THE GETAWAY (Sin-Drome);
Boney James; Pocket Change; Kilauea's MIDNIGHT ON THE BOULEVARD
(BrainChild)
KIM PENSYL - PENSYL SKETCHES COLLECTION (GRP), 55:58
GROOVE: Collection of highlights from the keyboardist's three PENSYL
SKETCHES albums, originally released on Optimism. Playful hooks and
perky rhythms. Pensyl plays all instruments on cuts from first two
albums, with heavy use of sequencers. Cuts from #3 use ensemble for
more realistic interaction.
HIGHLIGHTS: Solid R&J hit tracks "The Moroccan Junction" and
"Are You
Ready?"; street-smart "Monterey Magic"; elegant band cut
(from #3)
"Feel Your Love"; the wild chorus section of "Senna's Samba".
ALSO CHECK OUT: Pensyl's EYES OF WONDER (GRP); Joe Sample's COLLECTION
(GRP); Fattburger; Peter Kater's GATEWAY (GAIA)
CHARLES MICHAEL BROTMAN - PACIFIC RENDEZVOUS (BrainChild), 46:48
GROOVE: Light, delectably breezy, acoustic nylon string classical guitar
with tropical melodies, complemented by Daniel Ho's delicious keyboard
flavors and support from other Kilauea band members.
HIGHLIGHTS: Peter Gordon's flute on the charming first track, "Ali
Ann";
jauntily sauntering "Smuggler's Inn" peppered with wails from
Greg
Vail's sax; Spanish-styled "Sangria", driving "King's Ransom",
mellifluous title cut.
ALSO CHECK OUT: Brotman's magnificent 1990 debut, MANGO COOLER (Global
Pacific); Acoustic Alchemy's BLUE CHIP (MCA Master Series); Pocket
Change; Larry Carlton's ALONE/BUT NEVER ALONE (MCA Master Series)
MICHAEL PAULO - SAVE THE CHILDREN (Noteworthy), 46:31
GROOVE: Native Hawaiian plays breezy sax over moderate beats, recorded
in Bangkok. Improved accessibility over last effort, the hip-hop
oriented FUSEBOX (GRP). Includes pair of vocal tracks ably sung by
Paulo's sisters.
HIGHLIGHTS: Tributary "Sampled Joe" with Joe Sample-esque groove;
romantic "Terri's Song", named for the artist's wife; exotic "Buddha
Walk"; nice acoustic guitars and percussion on sweet "Leilani's
Lullaby"; stimulating introductory interludes on several tunes, plus
other surprises.
ALSO CHECK OUT: Paulo's ONE PASSION (MCA); Eric Marienthal's VOICES OF
THE HEART (GRP); DAVE KOZ (Capitol)
RICK BRAUN - NIGHT WALK (Bluemoon), 48:28
GROOVE: Alluring flugelhorn and muted trumpet over dark textures from
deep, thick bass and uncluttered drum programming. More mature and
upbeat than his beautiful debut from last year.
HIGHLIGHTS: Suspenseful title cut, cheerful "We'll Be Laughing",
mysterious "Children Of The Night", melancholy "Neon Dream";
light
funk beat of "Indians", Miles-like blowing on "Fat Jack &
Domino".
ALSO CHECK OUT: Braun's INTIMATE STRANGERS (Mesa); Miles Davis' TUTU
(Warner Bros.); Sade's PROMISE (Portrait) (Braun toured in her band
last year; very compatible styles)
3RD FORCE (Higher Octave), 46:00
GROOVE: Dark, pulsating techno-beats sprinkled with bright melodies,
further punctuated by thumping synth-bass lines. Group is fronted by
multi-instrumentalists William Aura, Craig Dobbin, and Alain Eskinasi,
arranged in Tangerine Dream-type configuration with more percussion
plus live instruments from guest artists.
HIGHLIGHTS: Haunting acoustic guitar lead by Craig Chaquico (of
Jefferson Airplane) on "The Gift"; soul-searching "Love's
The Reason",
seductive opener "You Know My Heart", foreboding title cut.
ALSO CHECK OUT: Paul Hardcastle's HARDCASTLE (JVC); Craig Chaquico's
ACOUSTIC HIGHWAY (Higher Octave); Patrick O'Hearn
MANU DIBANGO - WAKAFRIKA (Giant), 67:13
GROOVE: Percussion-laced African rhythms and vocals injected with
contemporary soul for modern, MTV-paced world music sound. All-star
guest list includes Peter Gabriel (on his own composition, "Biko"),
Ladysmith Black Mambazo (whose "Homeless" from Paul Simon's GRACELAND
is covered), King Sunny Ade, and some backing vocals by Sinead
O'Connor.
HIGHLIGHTS: Dibango's happy sax melody on "Hi-Life"; tribal chant
of
"Emma" with shuffle beat; hip, feel-good "Wimoweh",
featuring
Ladysmith; joyful "Ami Oh!"; quirky Arabian-flavored "Ca
Va Chouia"
with dance bars in chorus.
ALSO CHECK OUT: Vincent Nguini's SYMPHONY-BANTU (Mesa); Jean-Luc Ponty's
TCHOKOLA (Epic); Simon's GRACELAND (Warner Bros.); Bill Macpherson's
JUNGLE PARTY (Palmusic)
OTHER NEW STUFF...
CARL ANDERSON - HEAVY WEATHER SUNLIGHT AGAIN (GRP)
Best release yet from "Jesus Christ Superstar" singer.
KIRWAN BROWN - COOL GROOVES (Fahrenheit)
Title says all for this smooth, debut bassist from Colorado.
CUSCO - APURIMAC II (Higher Octave)
Cross-cultural, electronic R&J with haunting flutes, playful pan pipes.
STEFAN DICKERSON - ROMANZA (THEMES OF LOVE) (Heads Up International)
Warm piano with string orchestra, classy guests, Brazilian flavor.
FRANK GAMBALE - PASSAGES (JVC)
Peaceful fusion from former Elektric Band guitarist.
SCOTT HENDERSON - DOG PARTY (Mesa)
Blues from Tribal Tech guitarist; hilarious dog-themed songs.
STEVE HAUN - BIRTH OF DREAMS (Ivory Moon)
Charming keyboard textures with Colorado-influenced sound.
AL JARREAU - TENDERNESS (Warner Bros.)
Live set of singer doing mostly cover tunes; surprise guests.
EARL KLUGH - MOVE (Warner Bros.)
Breezy acoustic guitar from R&J favorite.
MATT BIANCO - ANOTHER TIME ANOTHER PLACE (JVC)
Updated sound from group that launched Basia's career.
ALPHONSE MOUZON - ON TOP OF THE WORLD (Tenacious)
Solid R&J hit; all-stars Russ Freeman, Richard Elliot, et al.
WALLACE RONEY - MISTERIOS (Warner Bros.)
Traditional jazz trumpet interpretations of romantic melodies.
TAKE 6 - JOIN THE BAND (Reprise)
Gospel vocal sextet adds music, still shines.
WILLIE & LOBO - FANDANGO NIGHTS (Mesa)
Sophomore outing from unique gypsy guitar/violin duo.
PAUL WINTER - PRAYER FOR THE WILD THINGS (Living Music)
Live sax improvised in wilderness with birds and wild animals.
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COOL CLASSICS by Wayne Radcliffe
DAVID BENOIT - FREEDOM AT MIDNIGHT (GRP), 1987, 46:57
Pianist David Benoit is one of the giants responsible for the surge in
popularity of rhythm & jazz in the late 80s. FREEDOM AT MIDNIGHT is
one
of the reasons why. Benoit first caught the public's ear with his
frolicking arrangement of Vince Guaraldi's classic Peanuts theme, "Linus
And Lucy", first recorded by Benoit on THIS SIDE UP (Spindletop/En
Pointe, 1986). It led not only to his being asked to score future
Peanuts specials, but, more importantly, to his signing with GRP, Dave
Grusin's label, which practically defined contemporary jazz.
FREEDOM is one of Benoit's only albums to avoid the common mistake of
almost every pop-jazz record of the last decade: throwing in an
obligatory vocal cut in a vain attempt to crossover to the pop charts
(often mandated by label executives). FREEDOM contains ten gorgeous
instrumentals, the highlight of which is the trademark "Kei's Song",
a
musical ode to the pianist's wife which was probably the most significant
contributing factor to the success of the first WAVE AID sampler, on
which the track also appeared.
Sam Riney's unrestrained alto sax solo on the ambitious "Morning Sojourn"
is a treat, as is its orchestral accompaniment. The spacey yet upbeat
"Along The Milky Way" with Osamu Kitajima on the koto was a New
Age hit.
The southern flavored, Grusin-ish "The Man With The Panama Hat"
is the
track that most interested the GRP co-founder himself. Four other
perfectly breezy gems are supplemented by "Del Sasser", an accessibly
fun
acoustic jazz cooker with John Patitucci on upright bass, and "The
Last
Goodbye", a tender, CD-only piano solo. Produced by the extraordinary
Jeff Weber, there's not a single disagreeable note on this unsurpassed,
landmark CD.
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ABOUT R&J
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"LOVE WAS DIFFERENT THEN"
RIC FLAUDING's _BRAND NEW_ compact disc!
Compliments of TROMPE l'OREILLE RECORDS!
Ric Flauding returns with an infectious
package of contemporary jazz melodies
on his long-awaited third release!
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STAFF:
Publisher/Editor: Dan Margules
Contributing Writers: Wayne Radcliffe, Bethany Springs
RHYTHM & JAZZ ELECTRONIC NEWSLETTER
P.O. BOX 28788 SAN DIEGO, CA 92198-0788
CompuServe ID: 74160,3551
(to contact us through the Internet, use 74160.3551@compuserve.com)
RHYTHM & JAZZ, VOL. 1, NO. 2, Copyright (c) 1994 Dan Margules. All rights
reserved.
