RHYTHM & JAZZ February 1995 Vol. 2, No. 2
Copyright (c) 1995 Dan Margules. All rights reserved.
LETTER FROM THE EDITOR
Thank you for downloading this issue of RHYTHM & JAZZ. Please
remember to drop us an e-line to let us know what you think of this
publication. Only with your input can we improve R&J to better meet
your
contemporary jazz needs.
As more and more labels hint or announce that they will phase out jazz
due to low profits, our goal of exposing people to more, great contemporary
instrumental music is more important than ever. If you're a Kenny G fan,
take a chance on a Richard Elliot, Dave Koz, Boney James, Mark Johnson,
or
Eric Marienthal. You won't be disappointed and the labels (and the
artists) will see that the market can and will support more than just one
disproportionately successful sax player. Already a pop-jazz sax junky?
Then try some guitarists. Grant Geissman, Nando Lauria, Earl Klugh, Strunz
& Farah. Don't be closed-minded with music. There are wonderful harpists,
cool bass players, and exotic violinists all making terrific music in this
genre! And more! Hear it all!
This month we introduce our new Q&A section to answer your questions
about your favorite R&J artists. If you have a question you'd like
answered here, send it to the e-mail address at the end of this file.
Coming Up: Tim Timmermans, formerly of the group Windows, returns with
a new solo album, LIFE AS WE KNOW IT, on Higher Octave, due out in April.
Speaking of Higher Octave, congratulations to Craig Chaquico on his Grammy
nomination. We'll be rooting for ya!
Dan Margules
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
ULTRA! - THE SMOOTHEST AND THE COOLEST by Wayne Radcliffe
BILLY JOE WALKER, JR. - LIFE IS GOOD (Liberty), 36:55
"I can't put a title on my kind of music because it's changing all
the
time. It changes just from living life." So says Billy Joe Walker,
Jr.,
a most unique instrumentalist from Nashville. The guitarist/songwriter
who has played or collaborated with Trisha Yearwood, Bryan Adams, Nanci
Griffith, and Eddie Rabbitt, crafts his own LPs with a consistent,
smooth, hit NAC sound that can't be beat. "I'm a real nature lover.
I
love mountains and streams and lakes and creeks, and that has a lot to do
with making records," explains the Walk. "I can't make my own
music like
Fords on an assembly line. I have to have time to live some life before
and between albums, before I can write something that's real and
believable and feel good about the music." As his well-chosen titles
show, his music is definitely feel-good.
The carefree title cut opens the disc, with Walker's serendipitous guitar
clearing a path for Brandon Fields' delicious sax. Forceful beats from
drummer Curt Bisquera keep the electric "Too Cool For Words" pumping,
with heavy tenor blowing from Joel Peskin. The reflective "Old World"
opens with a beautiful, virtuoso solo guitar intro from Walker, the adds
romantic accordion and dreamy synth from Brian Mann (see Cool Classics
section in this issue). "West Coast Sunset" is solid radio-friendliness.
The aptly-titled "Smile Awhile" begins with a light conga intro
from Luis
Conte, brings in Walker's bright, smile-evoking acoustic guitar melody,
then gives us a funky bridge to hang from. Finally, Jim Cox's Hammond B3
on closer "Key West Skies" makes Walker's strings' sweetness too
cool for
words. A delightful R&J masterpiece.
BOY KATINDIG (Noteworthy), 47:25
Like Kim Pensyl, Filipino Boy Katindig is a do-it-yourself-er. "The
album proves that one guy can really do it all," says Katindig. "Besides
keyboards, I also play bass and drums, and I use their sounds throughout
the album. I wanted to do as much as I could myself since I have my own
studio and therefore the time to perfect the sound that I'm looking for."
The sound he found is heavily bass- and drum-reliant, but lighter than
contemporary urban thanks to his good-natured melodies. "The music
on
this album conveys many of my greatest inspirations," Katindig continues,
"which began with Santana and culminates in Dave Grusin. I feel I have
really grown as a writer."
His self-titled debut opens with strong melodic hooks in "Puerto
Princessa", gliding smoothly into the wistful "Flame-ingo".
It's not
entirely a one-man band, as Boy features a powerful saxophone solo from
label president Michael Paulo on the funky "New York Nights".
The upbeat
tunes are balanced by the sensuous centerpiece "Journey To Love".
Next,
Katindig and his gear rip with energy on "Road To Rio". The disc
closer,
"Cafe Bahia", has an aggressive edge giving Boy's piano a jazzy
workout.
This Boy is off to an auspicious start to a promising R&J career.
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
R&J Q&A
Q: I'm new to this type of music and I find the suggestions in R&J very
helpful. Could you recommend some CDs that would be good to play when I
have my girlfriend over? - L. Edelson, Glencoe, Illinois.
A: One of the most frequently asked questions, and with Valentine's Day
coming up, this a good time to look into it. So much of the music in
this genre is very seductive, without trite pop-lyrics getting in the way
of establishing a mood. The radio station here in San Diego that plays
this type of music bills it appropriately as "Lites Out" jazz.
So what
should you play when you put the lights out? If you want to make a
compilation tape or program a multi-CD changer, there's hundreds of
individual tracks we can single out, but the one you absolutely can't be
without is Gato Barbieri's erotic rendition of the Santana/Tom Coster
composition "Europa", found on his CALIENTE! release (A&M).
It's a real
melter. As for whole albums that keep the mood uninterrupted, a few
winners that come to mind are John Klemmer's TOUCH (MCA), Bob James and
David Sanborn's DOUBLE VISION (Warner Bros.), Fourplay's self-titled
debut (Warner Bros.) and Grover Washington, Jr's WINELIGHT (Columbia).
TOUCH is consistently soft and seductive, and was reviewed in our
Classics section in our September 1994 issue (RJ0994.TXT). The other
three happen to be rare examples of albums where the token vocal
selection enhances the totality of the collection instead of sticking out
like a sore thumb. Al Jarreau joins James & Sanborn on "Since I
Fell For
You", El Debarge helps out Fourplay with the Isley Brothers' "After
The
Dance", and Bill Withers scored a hit with Washington with their smooth
collaboration on "Just The Two Of Us". The title cut to WINELIGHT
also
happens to be the nightly "Lites Out" theme song on FM98-KiFM.
Hope
these suggestions help!
Q: Please settle a bet. Was Russ Freeman of the Rippingtons ever in the
band Kilauea? - Joy Nui, San Francisco, CA.
A: No, the lead Ripper never personally participated in any of the Kilauea
projects, but it's a common confusion since all the songs on their first
LP, ANTIGUA BLUE (1991), were penned by Freeman. In 1985, Freeman put
out a spectacular solo effort, NOCTURNAL PLAYGROUND on BrainChild
Records. He later formed The Rippingtons at another label, leaving
BrainChild the publishing rights to a bundle of compositions he had
already penned for a follow-up effort. Years later, BrainChild's owner,
Dean Whitney, decided these songs needed to be heard and he created
Kilauea for that purpose. Of course Kilauea's instant popularity helped
them quickly evolve into their own band, fronted by their current
principal composer/arranger/producer and keyboardist Daniel Ho
(interviewed in our premiere issue, RJ0794.TXT) and featuring Greg Vail
on sax. The just-released DIAMOND COLLECTION is a compilation of eleven
of the best tracks from Kilauea's four CDs, including two Freeman cuts
from ANTIGUA BLUE. There are also three brand new Kilauea tunes on the
disc, two by Ho and another previously unheard Freeman melody from his
BrainChild days.
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
NEW RELEASES by Bethany Springs
CACHAO - MASTER SESSIONS VOLUME 1 (Crescent Moon/epic), 76:29
GROOVE: Travelogue through myriad of Afro-Cuban dances led by inventor
of the mambo, Israel "Cachao" Lopez, on counterbass, produced
by actor
Andy Garcia (WHEN A MAN LOVES A WOMAN). Dizzying intoxication of
Cuban flavors with Justo Almario, Paquito D'Rivera, and Alfredo
"Chocolate" Armenteros among the horn section, alluring flute
appearances by Nestor Torres, and lots of lively percussion and
harmonious strings. Songs from Garcia-helmed concert film CACHAO...
COMO SU RITMO NO HAY DOS.
HIGHLIGHTS: Torres' sweet melody on _danzon_ "Isora Club"; rousing,
polyrhythmic "Mambo"; Juanito Marquez' scintillating solo _guitarra_
on _guajira_ "My Country Girl"; absolutely mesmerizing, slow _danzon_
"Marianao Social Club"; percolating _descarga_ jam session "To
Rejoice
With My Combo"; fiery sax hook on closing jam "Descarga Cachao".
ALSO CHECK OUT: MAMBO KINGS soundtrack (Elektra); Arturo Sandoval's
DANZON (GRP); Dave Grusin's HAVANA soundtrack (GRP); Bochinche's
CARACAS (Heads Up)
POCKET CHANGE - HIGHER ALTITUDE (BrainChild), 50:56
GROOVE: Listener-friendly, easy-going grooves with sunny melodies from
guitarist/leader David Patt, joined on six tracks by terrific
keyboardist and co-writer Peggy Duquesnel. Other guests include
Yellowjackets' Mark Russo; Rippingtons' Steve Reid, Kim Stone, and
Tony Morales; Kilauea's Daniel Ho and Greg Vail; Dan Siegel, and Peter
Gordon. Not a single let-down on this disc!
HIGHLIGHTS: Suspenseful intro to superb opener "Crusin' Catalina";
jaunty strutter "Turn On The Light"; cool, confident attitude
from
Patt's electric strings on hip "Proper Attitude"; Ho's sharp bass
and
drum programming on party-like "Walk In The Park"; classic,
unforgettable, yearning hook of Dan Sawyer's "Skofield Park '95";
happy flavors of "Tropical Love".
ALSO CHECK OUT: Change's MEDITERRANEAN AFFAIR (BrainChild); Ken
Navarro's PRIDE & JOY (Positive); Kilauea (BrainChild)
MODERN TIMES - THE PERSISTENCE OF MELODY (Corona), 54:18
GROOVE: This new ensemble out of Pittsburgh demonstrates on their debut
CD a keen ear for the accessible elements of contemporary jazz. As
the title suggests, the melodies here are persistent and the groove
guarantees a good time. Wailing lead saxophonist Matt Ferrante can be
reached on-line for more info; on CompuServe at 75257,2704, or at
MFerrante@AOL.com.
HIGHLIGHTS: Excellent tenor sax soaring through delightful opener "Make
It So"; EWI intro and Sonny Barbato's cool B-3 on swingin'
"Timeclock", with fine 5-string bass solo by Brian Stahurski;
picturesque mid-tempo ballad "Lookin' Ahead"; sparkle from rhythm
guitar and solo by Mark Koch on "Tar Beach".
ALSO CHECK OUT: Rain-Bo Tribe's WHAT THEY DON'T TELL YOU... (Positive);
Dotsero's JUBILEE (Nova); Dick Baurle Group's ...MEASURE FOR MEASURE
(Atlantic Jazz); Uncle Festive's DRIVE DOWN THE SUN (Bluemoon)
DAVID BLUEFIELD & CHRIS BANK - CLAZZUAL SAX (D'Blue), 50:59
GROOVE: Despite over-explained concept in super-hyped liner notes
("Music you respect in the morning!"), if the idea of mellow,
contempojazz interpretations of famous classical melodies sounds
appealing, then there's probably room for this CD in your collection.
Soothing arrangements by Bluefield; Bank takes on melody with subtle,
quiet sax, then goes into passionate improv sections. (Another
marketing tag line used: "IMPROVing The Classics" [caps theirs]
-- get
it?)
HIGHLIGHTS: Elegant Wagner waltz "Evening Star"; genteel rendition
of
Rachmaninoff's romantic "Piano Concerto #2"; familiar pop-ballad
strains of Liszt's "Libestraum"; haunting, mysterious execution
of
Chopin's "Prelude #4 in Em"; jazzy closer "Waltz Of The Flowers"
(Tchaikovsky).
ALSO CHECK OUT: John Klemmer; Jazz At The Movies Band's A MAN AND A
WOMAN/SAX AT THE MOVIES (Discovery); HOOKED ON CLASSICS (K-tel)
OTHER NEW STUFF...
BILLY CHILDS - I'VE KNOWN RIVERS (Stretch)
Esoteric jazz and the poetry that inspired it; Bob Sheppard on sax.
BILL CUNLIFFE - BILL IN BRAZIL (Discovery)
Dizzying piano virtuosity set in Brazil.
PEPPINO D'AGOSTINO - VENUS OVER VENICE (Mesa)
Smooth R&J trax plus serene acoustic guitar solos; blazing fingers.
JAMES DAPOGNY'S CHICAGO JAZZ BAND - HOT CLUB STOMP: SMALL BAND SWING
(Discovery)
Swing Era reborn in this lively set of old pearls!
GRP ALL-STAR BIG BAND - ALL BLUES (GRP)
Stellar jammers on classics of Miles, Dizzy, Monk, Coltrane, et al.
HARMONIOUS WAIL - AIRBORNE (Bufflehead)
Dixieland and Django meet Manhattan Transfer in delightful romp.
JAZZ AT THE MOVIES BAND - ONE FROM THE HEART: SAX AT THE MOVIES II
(Discovery)
More romantic, saxy movie music from Bill Cunliffe + strings.
KILAUEA - DIAMOND COLLECTION (BrainChild)
Best-of compilation with three newly-recorded compositions.
HIROKO KOKUBU - PURE HEART (JVC)
Cooker from former CNN newscaster-turned-smokin'-R&J-keyboardist.
OPAFIRE - RICOCHET SUN (Higher Octave)
Splendid banquet of bright acoustic strings, multi-cultural rhythms.
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
COOL CLASSICS by Wayne Radcliffe
BRIAN MANN - CAFE DU SOLEIL (Narada Equinox), 1990, 44:16
I was quite happy to notice that Brian Mann appears on the new Billy Joe
Walker, Jr. CD (reviewed this issue) through courtesy of Narada. Perhaps
that means he hasn't been dropped since his fabulous 1990 debut and we
may one day see a follow-up. The former Kenny Loggins keyboardist
stunned us on CAFE DU SOLEIL with his incredibly tasty contemporary jazz
licks on, of all things, the accordion! One listen to this CD will
certainly shatter any preconceived notions one might have of the
accordion's place in the music world; I mean, this ain't polka music!
But if CAFE DU SOLEIL were merely a gimmick to point out that accordion
isn't so bad, it wouldn't be so recommendable. In fact, it's the
colorful melodies that draw the listener in without even calling
attention to the unorthodox instrumentation.
The hummable opener "Reclining Civilization" blows us away with
it's full
synthesized band and horn section. The French flavored "Je t'aime"
has a
lovely sunset-watching feel. The astonishing, spiraling feel of "Day
By
Day By Day" introduces us to Mann's dark side, followed by my favorite
track, the ultimately happy "Dab In Da Midda". The simple and
honest
"We're A Family" is a peach with its mandolin-like synth part.
The
ambitious "Red Army Song" takes us on an unexpected turn, with
a
triumphant, concerto-like arrangement featuring cellos, bassoons,
clarinets, and French and English horns. "What Has To Be" contrasts
a
slow, longing section with an upbeat twist and a jazzy piano solo.
"L'Accordion" is another pop-jazz standout, while the sweet closer
"Gabriel's Dream" has left me wanting more from Brian Mann for
five
years!
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
ABOUT R&J
RHYTHM & JAZZ is published monthly by Dan Margules and uploaded to the
jazz
library of the Music/Arts forum on CompuServe. Users are encouraged to
distribute R&J to any other online services and bulletin boards to which
they have access, including the Internet, provided this file is not altered
in any manner. The contents of this file are copyrighted. No fee may be
charged for copies of R&J (other than normal download charges for online
services) by any party other than the copyright owner. R&J may not be
included in commercial shareware packages without prior written permission
of the copyright owner.
RHYTHM & JAZZ is SHAREWARE. If you enjoyed reading this issue of R&J,
please let us know by subscribing with your TAX DEDUCTIBLE donation to the
Family Violence Prevention Fund, a non-profit organization dedicated to
preventing and reducing domestic violence through various programs such
as
the first-ever national public education campaign on the issue, called
"There's No Excuse For Domestic Violence".
To register this issue of RHYTHM & JAZZ:
Please send a check for ANY amount
**** made payable to "FAMILY VIOLENCE PREVENTION FUND" ****
MAIL TO:
RHYTHM & JAZZ ELECTRONIC NEWSLETTER
P.O. BOX 28788
San Diego, CA 92198-0788 U.S.A.
Even if you don't wish to register this issue of R&J, we'd love to hear
from you. Please send your comments, questions, suggestions to the e-mail
address below.
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. 2, NO. 2, Copyright (c) 1995 Dan Margules. All rights
reserved.
