RHYTHM & JAZZ August 1995 Vol. 2, No. 7
Copyright (c) 1995 Dan Margules. All rights reserved.
LETTER FROM THE EDITOR
We begin our second year of publication by welcoming another new
contributor, Oliver Dorman of La Jolla, California, who will be taking over
the Ultra and Cool Classics sections from Wayne Radcliffe.
We hope everyone's having a great summer and is getting out to hear as
much great live contemporary jazz as we are. David Sanborn is enjoying a
successful tour with an orchestra playing selections from his current
release PEARLS. Our friends in Hawaii are gearing up for the Maui Music
Festival which will bring artists such as David Benoit, Eric Marienthal,
Spryo Grya, Acoustic Alchemy, Tom Scott, Boney James, and Gregg Karukas
to
their tropical paradise on Labor Day weekend. Call 800-628-4767 for more
info, or e-mail KUCD CD 101.9 FM at cd1019@pixi.com. Some of the events
we're looking forward to this month are Tony Guerrero's rescheduled all-
star KSBR anniversary jam at the Dana Point Resort (in Nicole Brown's
hometown) the morning after Tony's wedding to country singer Kelly Rae;
and
Peter White, Craig Chaquico, and others at the Taste Of L.A. festival in
Los Angeles.
Remember to tell your friends about RHYTHM & JAZZ, the best online
source of information on the latest contemporary instrumental music!
Dan Margules
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ULTRA! - THE SMOOTHEST AND THE COOLEST by Oliver Dorman
KEVYN LETTAU - UNIVERSAL LANGUAGE (JVC), 50:20
With a voice to match her physical beauty, Kevyn Lettau brings a new
level of compassion to the lyrics on her fifth release. "It doesn't
matter if you can't understand the words if you're touched by the feeling
of what's being sung," says Kevyn, who sings one track in Portuguese
and
another in German as effortlessly as a bird whistles. "It dawned on
me
while I was on tour in Europe that it doesn't matter if people don't
speak the same language. Communication will happen if you just open up
your heart... if you're warm and real."
The maturity, emotion, and personalism that has defined the body of her
previous JVC efforts is here married to the more accessible pop-like yet
Brazilianized and jazzy melodies of her 1991 debut KEVYN LETTAU (Nova).
In fact, the bouncy "Our Lasting Love" reunites Lettau with composer
Yutaka Yokokura who contributed probably the catchiest song in her
repertoire, "Shooting For The Stars" from that first CD.
Kevyn seems like she's singing right to you on the intimate opener
"Tribute To You" and "Seeing For The Very First Time"
(featuring Russell
Ferrante), both penned by Michael Ruff. She adds her own lyrics to Pat
Metheny's "Secretly Begin" and the title cut, a Djavan tune made
more
exciting with husband Michael Shapiro's drum track. The gentle breezer
"Underneath The Face Of The Moon", written with Kleber Jorge,
is another
highlight, but Lettau's triumph is her powerful Billy Childs
collaboration "Gentle Flower", a heartbreaking ode to child abuse
sufferers.
"Every record is different because I'm always growing, expanding and
changing," explains Kevyn. "This is a slice of who I am, and where
I am
right now." For another tasty slice, look for BRAZILJAZZ (Nova), an
intimate trio recording with Shapiro and guitarist Peter Sprague.
PRODUCED BY: Mike Shapiro with Mitchel Forman (3 tracks)
PHIL'S HARMONIC ORCHESTRA - SWEET CORALIA (Clubhouse), 53:28
"I look at my music as 'new pop.' Pop music is always evolving and
we
may find that melodic instrumental music becomes very, very popular from
now into the next century," states Phil Hirsch, the guiding force behind
this unique new CD. "This album is an attempt to return to the creative
freedom of the late Sixties when an 'anything goes' attitude entered the
world of pop music and brought forth some of the most innovative sounds
anyone had ever heard. No one told The Beatles they couldn't put a
piccolo trumpet on 'Penny Lane.'"
Phil's Harmonic Orchestra is similar in concept -- yet more rhythmic than
-- Mannheim Steamroller. Hirsch buddies his 5-string banjo (far more
listenable than Bela Fleck) and synthesizers with trumpet and French
Horns (Mario Guarneri) and Kenny G's Vail Johnson on bass, creating new
sounds with an open, rolling texture to them. The overall effect is not
unlike Craig Chaquico's debut ACOUSTIC HIGHWAY (Higher Octave).
Hirsch has a varied history with experimentation over the last three
decades in groups such as The Town Criers (which later evolved into
Jefferson Airplane), Saturdays Children, Felix Culpa, and Tor Olson's The
Only Alternative And His Other Possibilities, and associations with Jerry
Garcia and a poet named Bob Zimmerman (who later became known as Bob
Dylan). The music on CORALIA is breezy yet adventurous -- relaxed
melodies with splashes of spaciness. A wonderful find. Find it by
contacting Clubhouse Records, 244 South A Street, Santa Rosa, CA 95401;
(707) 575-9552, fax: (707) 575-4431.
PRODUCED BY: Phil Hirsch with Jane Clark Uralli and John Hug
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NEW RELEASES by Bethany Springs
RON AXELSON - ISLE OF ST. THOMAS (Ivory Moon), 39:27
PRODUCED BY: Ron Axelson
Warm island sound from saxophonist creates a perfect getaway. "My
philosophy of music is characterized by a passion for melodies,
tonalities and rhythms that bring a sense of joy and even innocence to
my music," says Axelson. "I feel strongly that music has great
power,
and that power can be positive or negative, depending upon the nature
and combination of those primary elements." His laid-back, tropical
compositional style is akin to Hawaiian guitarist Charles Michael
Brotman. Mallets and steel drums by Don Prorak, in conjunction with
Axelson's sax often call to mind the sounds of Spyro Gyra. As a special
treat, Axelson plays a sweet flute on a couple of breezy tracks.
Delightful.
CAMILA BENSON - MEMORIES (One Voice/Satellites), 46:20
PRODUCED BY: Ryo Kawasaki and Kiyoshi Itoh
Probably the first former circus performer reviewed in RHYTHM & JAZZ,
Benson was a child trapeze star in her native Brazil before beginning
her 30 years of worldwide wandering in a music career that had her
gigging throughout Central and South America, Spain, Africa,
Scandinavia, Europe, and the Middle East. The singer/guitarist finally
settled in London in 1975. MEMORIES, her second album, is a
sophisticated contemporary pop-vocal dance record with influences from
all over her past. She sings in both English and Portuguese, covering
such artists as Leon Russell, Bob Marley, and her personal favorite,
Antonio Carlos Jobim. Arranger and co-producer Ryo Kawasaki performs
most of the guitar work.
BANGKOK BLUE - SIAMESE TWINS (Noteworthy), 57:48
PRODUCED BY: Blue Johnson
Synthesizers blend with ancient acoustic instruments of Siam (now
Thailand), Cambodia, and Laos on this minimalist new age/world music
offering. Light mood music for background use, with bursts of beauty
livened, in spots, by saxman Michael Paulo.
EAST BOUNCE (One Voice/Satellites), 59:40
PRODUCED BY: Kiyoshi Itoh
U.S. debut for Japanese ensemble headed by former Sadao Watanabe
sideman, acoustic bassist/composer Yoshio Suzuki of the band Matsuri.
Some of smoothest music around, these tunes bounce from romantic grooves
that rival Fourplay, with tantalizing breeziness from sax players
Mashiro Fujioka and Dave Liebman, to tight, sophisticated T-Square-like
energizers. Piano and keyboards by Suzuki and Soichi Noriki reminiscent
of Makoto Ozone's STARLIGHT (JVC). No letdowns in sight on this
beautifully executed contemporary jazz release. One of the year's best!
THE GREG HATZA ORGANIZATION (Palmetto), 49:13
PRODUCED BY: Greg Hatza and Michael Cherigo
Hats off to Greg Hatza of contemporary group Moon August for his return
to the Hammond B-3 organ on this CD that swings in many directions. "I
covered the blues angle of the organ, wrote some more modern songs and
then, with 'The Wizard,' I went into a modern funk bag," Hatza
acknowledges. "I feature the organ in many styles and, because I cover
a lot of bases, it makes it difficult to categorize the recording as a
whole." Cool originals, but casual arrangements of classics from Dizzy,
Coltrane, and Hoagy Carmichael work best. Nifty drum work by Gary
Jenkins. Order from palmetto@maestro.com. B-3 fans also check out Eric
"Scorch" Scortia's A NIGHT ON THE TOWN (Heads Up International).
JEFF KASHIWA - REMEMBER CATALINA (Fahrenheit), 59:23
PRODUCED BY: Jeff Kashiwa
When Brandon Fields left The Rippingtons, Jeff Kashiwa had some pretty
big shoes to fill. He's obviously learned a lot during his tenure as
saxman for the hottest pop-jazz group around, judging by his
sensational, long-awaited solo debut release! Expect Ripps-level
blowing from Kashiwa, from the fun-filled opener "Coastal Access"
to the
spicy Spinners cover "Could It Be I'm Falling In Love" to the
subdued,
refined closer featuring David Benoit on piano and Steve Bailey (also of
Ripps fame) on fretless bass. Allen Hinds (Hiroshima, Dan Siegel)
provides tasty guitar solos. Other guests include Rob Mullins and Dave
Samuels (Spyro Gyra). Kashiwa's home page on the World Wide Web is
http://www.magicisland.com.
RYO KAWSAKI - LOVE WITHIN THE UNIVERSE (One Voice/Satellites), 61:20
PRODUCED BY: Kiyoshi Itoh
Nimble electric guitar picking over consistent R&B tracks definitely
puts the listener in mind of George Benson. Kawasaki's originals and
complementary cover tune choices (of Sade, Al B. Sure, and Prince)
receive extra class from lead vocalist Ilana Iguana and dreamy
background vocals. A distinct mood is established here, well worth
visiting.
ALPHONSE MOUZON - AS YOU WISH (Tenacious), 56:10
PRODUCED BY: Alphonse Mouzon
Re-release of splendid but hard-to-find 1990 CD originally billed as
"Final Notice! featuring Alphonse Mouzon". Pleasantly melodic
gems
penned by _drummer_ Mouzon, featuring himself on multiple axes (bass,
guitar, acoustic piano, and, of course, the drums). The other most
prominent Final Notice! voice belongs to the saxophones of Gary Meek.
Like just about all of the former Weather Report drummer's solo outings,
this is a must-have for collectors of accessible, hummable pop-jazz
records.
THE RHYTHM & BLUEFIELD BAND - RECLASSIFIED: CLAZZUAL SAX 2 (D'Blue),
51:22
PRODUCED BY: David Bluefield
Essentially K-Tel's HOOKED ON CLASSICS meets Art Good. Second volume of
classical melodies with pop-jazz interpretations by former Three Dog
Night keyboardist David Bluefield (he was also the Moog player helping
Francois Truffaut communicate with the aliens in the climactic scene of
Steven Spielberg's CLOSE ENCOUNTERS OF THE THIRD KIND). As on the first
CD, some surprises emerge. Chopin with a reggae feel and walking-bass,
straight-ahead section featuring Kirwan Brown on bass; a bluesy/rock
shuffle version of Sousa's "Washington Post" march. A classical
guitar
etude from 1929 (Villa Lobos) comes off the best with little
translation, keeping the classical guitar (Howard Arthur) and adding
bossa nova with cello and sax (returning partner Chris Bank). Grieg
gets the rock treatment with a Prince wah-wah feel on "Peer Gynt".
And
the Beethoven closer has a real hip groove!
STRUNZ & FARAH - HEAT OF THE SUN (Selva), 52:33
PRODUCED BY: Jorge Strunz, Ardeshir Farah, and Kathlyn Powell
It's a combination that has served them well on six stunning albums
previously and the magic of Strunz' Latin roots and Farah's Persian
flavors continues to cast its spell over their latest CD. Jorge, from
Costa Rica, is heard picking on the left channel and strumming the fiery
rhythms while Iran's Ardeshir blows out the exotic melodies on the right
channel. Each guitarist improvises freely through solo sections on each
track with blazing speed, yet the most prominent aspect of the record is
the culturally-influenced melody of each tune. With a sound like no one
else, experiencing Strunz & Farah is simply intoxicating. Percolating
congas, bongos, timbales, and other percussion by Long John Oliva and
Luis Conte also establish the mood. Available exclusively from Selva,
c/o 4339 Saltillo Street, Woodland Hills, CA 91364; fax: (818) 703-1251.
For more acoustic guitar duo fun, try Acoustic Alchemy.
THE JOHN TESH PROJECT - SAX ON THE BEACH (GTS), 63:23
PRODUCED BY: Charlie Bisharat and Ross Pallone
Follow-up to Tesh's wildly successful SAX BY THE FIRE pairs the
Entertainment Tonight host with 5 hot sax players on twelve more
instrumental covers of pop tunes. Gerald Albright, Boney James, Eric
Marienthal (Chick Corea Elektric Band), Michael Paulo (David Benoit),
and Marc Russo (Yellowjackets) are the horn blowers. Highlights include
Kenny Loggins' "This Is It", Earth, Wind & Fire's "September",
Ambrosia's "Biggest Part Of Me", and Elton John's "Can You
Feel The Love
Tonight" from THE LION KING, with Boney turning in a romantic
performance on the soprano sax. Also covered are The Police, Peter
Gabriel, and James Taylor.
ERIC TINGSTAD - A SENSE OF PLACE (Narada Lotus), 46:19
PRODUCED BY: Eric Tingstad
After eight successful Narada CDs with ocarina mistress Nancy Rumbel
(under the nomenclature of Tingstad & Rumbel), Eric's first solo album
is a commensurate aural treat. His classical guitar takes over the lead
and reveals a sensitive and polished player. Featuring guest pianist
David Lanz on several tracks, this disc is a soothing and contemplative
antidote to Ottmar Liebert.
VARIOUS ARTISTS - CROSSING CULTURES (Miramar), 75:15
PRODUCED BY: various
Seattle, Washington-based label previews its new World Music series with
this truly adventurous sampler. The 17 tracks by 13 artists represent
fifteen countries around the world. Not only are many of the
instruments and musical styles seldom heard by Western listeners, but
many of us probably have not heard of some of the countries:
Tajikistan, Uzbekistan, Kazakhstan, Bashkortostan, to name a few. The
ancient Altai art of throat singing sounds like it comes out of a
science fiction flick. That's just one of the fascinating discoveries
on this unique exploration. Asian, Turkish, and Arabian musical styles
are merged with modern rhythms on some tracks. Synthesizers and guitars
meet the Gijak and the Dromba. There's a lot to take in while listening
to this CD. One favorite group is Voyage, with members from Germany,
Russia, and Iran, who favor us with a rather accessible "Kelimdance"
then, later, with an all-percussion track. Should prove to be quite an
interesting series. One drawback, though, is the absence of liner
notes. First full release from the sampler is ALMA ALMA by Uzbekistan's
Yulduz Usmanova, a pop superstar in and around the former Soviet Union.
AND KEEP YOUR EARS PEELED FOR...
Steve Allee - The Magic Hour (Noteworthy) [prod. Tom Borton]
Rick Braun - Beat Street (Bluemoon) [cool trumpet]
The Caribbean Jazz Project (Heads Up International)
[Dave Samuels, Paquito D'Rivera, Andy Narell]
Craig T. Cooper - Touch-Tone (Sin-Drome) [urban delight]
Dr. John - Afterglow (Blue Thumb)
Dean Evenson - Ascension (Soundings Of The Planet) [new age]
Grant Geissman - Business As Usual (Positive)
The Bill Holman Band - A View From The Side (JVC) [big band]
Milt Jackson - Burnin' In The Woodhouse (Qwest/Warner Bros.)
Jazz Crusaders - Happy Again (Sin-Drome)
The Jazzmasters - II (JVC) [a.k.a. Paul Hardcastle]
Arturo Sandoval & The Latin Train (GRP)
Shahin & Sepehr - E (Higher Octave) [reviewed below]
3rd Force - Force Of Nature (Higher Octave) [reviewed below]
J Michael Verta - The Phoenix (BrainChild)
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K O R O V A M U L T I M E D I A R E V I E W S
Korova Multimedia
Post Office Box 2036
Novato, CA 94948
CompuServe 70713,1440
America Online DSpalding
The Microsoft Network DSpalding
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THE ACOUSTIC SHADOW, Carl Weingarten (Multiphase Records MP- CD103;
65:16), 1995. San Francisco musician Carl Weingarten has crafted an
amazing disc -- "world music with a science fiction edge." That's
not
quite all. The album begins with a cryptic intro, which establishes the
album as something of an aural novella. Sounds come and go, providing
clues as to the context of the various, exotic musical interludes.
Between the fantasy elements, ethnic instrumentation and superb
performances, this disc is a real trip ... around the world ... and
somewhere else that Weingarten detours to in the title track. Also
features Joe Venegoni, Kit Watkins and others. Highly recommended for
those with a daring ear.
E, Shahin & Sepehr (Higher Octave Music HOMCD7076; 46:18), 1995. Hot
on
the heels (or maybe it HAS been that long) of their hit album, ONE
THOUSAND & ONE NIGHTS (HOMCD7061, 1994), this Iranian-American duo
delivers more stylish music drawing on Persian and Western influences.
Weaving electronic and acoustic instrumentation seamlessly (including
more traditional instruments like the tonbak and santur), Shahin Shahida
(guitars) and Sepehr Haddad (keyboards) achieve a balanced paradox of
artful virtuosity and structural "cool." Like the letter "e"
(which,
since 1000 BC, has been a symbol in music, science and the arts), the
music is deceptively complex, belying a calming texture that just sighs.
I expect more good things from this pair for some time to come.
GLOBAL CHILLAGE, The Irresistible Force (Astralwerks/Caroline ASW6143-2;
65:13), 1995. "It's time to lie down and be counted." So dedicated
Mixmaster Morris to the "global ambient underground" in this new
release
as The Irresistible Force. Lying down is one thing GLOBAL CHILLAGE
doesn't do: the album is active, quirky and quite original. A little more
idiosyncratic than most stamped-out trance albums, it builds to a gliding
crescendo of stasis with "Waveform" and "Manifesto."
Worth scanning and
archiving.
WATER CIRCLE, Shawn E. Donahoo (Ancient Fountain Music/Crystal Heart
Records CH001; 43:48), 1994. A young, Alabama composer begins a four-CD
cycle with synthesized suites inspired by the mystical element of water.
In an interesting structural choice, eight suites are each introduced by
a prelude. The music is soothing and original.
WHITE SANDS, A Produce (Trance Port TP-105; 74:12), 1995. Southern
California ambient composer A Produce has collected several classic (many
are remixed) and unreleased tracks from his previous albums (THE
CLEARING, REFLECT LIKE A MIRROR, RESPOND LIKE AN ECHO, A SMOOTH SURFACE
and LAND OF A THOUSAND TRANCES). Produce's music is in an unusual class
of ambient music of its own. He uses three primary elements in his music:
recurrent rhythmic structures, contemplative ambient structures and
lyrical progressions that grow and evolve as the musical space expands.
Combining them in a very singular way, he's achieved a highly
personalized oeuvre. In this album, the contrast between conventional
ambience and the meditative calm that arises from skillfully chosen
repetitions is made crystal clear. Composer Robert Rich has re-mastered
this album from the original tapes, resulting in a strikingly clear and
lovely resonance.
BOHEME, Deep Forest (Epic BK-67115; 42:47), 1995. Returning to the alloy
of sampled music and dance/ambient beats, Eric Mouqet and Michel Sanchez
take the Deep Forest concept into a new realm of imagination. The first
album sprung upon us with sampled songs and voices from Africa, a pygmy
dreamtime coupled with soft, Euro-dance music. On this second chapter,
the duo travels East from home, finding inspiration in the gypsy songs of
Hungary and Belorussia, passing through the deeper forests of Eurasia as
far east as Taiwan and Mongolia. As the music weaves through a digital
Bohemian Rhapsody, threads of Inuits and Native Americans colour the
chorus of Russians and Asians. The guiding light in Deep Forest: the
beauty of the human voice, expressing generations-old traditions of
longing and celebration. Where Enigma uses sampled vocals to support a
framework of 21st Century, music, Deep Forest creates new framework with
which to hear old songs. This is an excellent album.
EQUATOR, O Yuki Conjugate (Staalplaat/Soleilmoon STCD-088; 50:54), 1995.
In their previous releases PEYOTE and UNDERCURRENTS (IN DARK WATER), UK
group O Yuki Conjugate staked out a musical claim for a region that was
eerie and unfamiliar. Using combined acoustic and electronic
instrumentation, a lot of it percussive, they play riffs that're more
suited to the Sandpeople of Tatooine than mere earthly ambient music.
Decidedly less frenetic than PEYOTE, EQUATOR has more ambience to it, but
still keeps strange company with tunes that seem foreign, distant,...
with a flavor of deja vu. The new mix of "Insect-talk" (which
first
appeared on the TWILIGHT EARTH compilation), in particular, is more
insidious, slowly building to a clever backbeat that belies its spacey
heart. Like the work of Suspended Memories (Hearts of Space), O Yuki
Conjugate combines faraway musical idioms to bring primal rhythms home.
Really nice package design, too.
FORCE OF NATURE, 3rd Force (Higher Octave Music HOMCD-7077; 48:29), 1995.
On their second outing for Higher Octave, William Aura, Craig Dobbin and
Alain Eskinasi get closer to the ball of energy that twirls within all
contemporary jazz/new age music. I'm finding I like this sort of music
more and more, not because of how it makes me feel, or that it fills the
room with melodies, but because it's lively and fun to have in the air.
Moving quickly to Latin, hip-hip and new age conventions, the group is
here joined by guests including guitarist Craig Chaquico on an album of
breathless instrumental music. Their previous album on HOM reached #11 in
Billboard, and I expect no less from this disc.
LIFE BETWEEN THE LINES, Laurie Z. (Zebra Productions ZP-0102; 46:06),
1995. In her sophomore release, accomplished keyboardist and composer
Laurie Z. collects instrumental tracks that lilt from offbeat electronic
suites to laid-back rock music. I listened to this late one holiday
afternoon, sipping and skipping online sites, enjoying Laurie's unhurried
composition and voice. Working alone or with accompanying musicians,
Laurie keeps the tunes bouncing along with a cool reverence of music. A
very nice CD, one I'm not letting go of.
YOU LOVE CHINESE FOOD, Pablo's Eye (Extreme XCD031; 62:36), 1995. It's
very tricky, this style of assemblage that incorporates samples and
snippets from the audio world. Some do it well, like Anne Dudley and Jaz
Coleman in SONGS FROM THE VICTORIOUS CITY; others, like Single Gun
Theory, arrive with uneven results. Very similar to the fractured,
feverish reconstituted music of Carl Stone, Pablo's Eye assembles music
and audio shreds into a startling collage of subconsciously inspired
music. It transfixed me. The album starts off strong, with fascinating
combinations of melody and samples, foreign languages and echoes, all
lingering just a bit longer than my CD player's indicator tells me. Not
everyone will take to this eclectic blend of sound shards from around the
world, but no can contest the sharp quality of the album. I keep coming
back to it for certain tracks, melodies and strains that echo in my
memory.
A self-described multicareerist, D.B. Spalding is a writer, musician,
independent radio producer, computer consultant and online sysop; he
writes frequently about music, film, computing and the mass- and
multimedia.
(C) Copyright 1995 D.B. Spalding. All rights reserved.
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COOL CLASSICS by Oliver Dorman
NEIL LARSEN - THROUGH ANY WINDOW (MCA), 1987, 39:26
Here's an ass-kicker that seems to have slipped by many contemporary
instrumental music fans, judging by the lack of a further career from the
artist (and long-time musical director of Al Jarreau's touring band).
When this CD first came out, its breezy title cut and "Alborado"
were
practically the only tunes that got any radio play. Both very WAVEable,
their melodies swim along with a gentleness similar to Gregg Karukas'
stroller "Walkin' With You" from THE NIGHTOWL (Nightowl Records).
Both
were good enough to get me to buy the record, but when I got it home I
was shocked by the high energy fun I found on the rest of the tracks!
Larsen's rock bent makes The Rippingtons sound like bubble-gum pop-jazz,
yet he never loses control of the hooks by turning the solos into ear-
splitting fusion fiascoes. Toto's Steve Lukather displays some guitar
pyrotechnics on "Blind Spot", for instance, but Larsen's keyboard
remains
the focus. You won't find any acoustic piano on THROUGH ANY WINDOW --
it's totally electronic -- but Neil comes up with some interesting and
consistent synth sounds that are amenable to the accessible rock-jazz
hybrid he's inventing.
"Miss Baby Larue" stands out with its funky shuffle. Michael Brecker
is
featured on the killer opener "Carnival" and David Sanborn appears
on the
jaunty yet mysterious "Tonar". Core supporting players include
Nathan
East on bass and Steve Ferrone on drums. I haven't tired of listening to
this disc in eight years and its biggest reward is the final cut: the
inimitable Brandon Fields on Booker T. and the M.G.s' instrumental
classic "Hip Hug-Her". Now THAT'S a great cover for this genre!
PRODUCED BY: Neil Larsen
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RHYTHM & JAZZ, VOL. 2, NO. 7, Copyright (c) 1995 Dan Margules. All rights
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