RHYTHM & JAZZ September 1994 Vol. 1, No. 3
Copyright (c) 1994 Dan Margules. All rights reserved.
LETTER FROM THE EDITOR
It's been a hectic summer for us here at R&J. The concert season
started out slowly, but suddenly we found ourselves enjoying outstanding
live performances every week by the likes of Nelson Rangell, Basia,
Kilauea, Boney James, Norman Brown, John Tesh, Tim Weisberg, David Benoit,
Michael Paulo, and Spyro Gyra. Whew! No wonder we hardly had time to
review CDs.
But we did manage to find those extra hours put together this third
issue of RHYTHM & JAZZ, packed with information on the hottest new
contemporary jazz CDs. We hope you find these reviews helpful and, as
always, we'd love to hear YOUR comments!
This month's feature interview is with drummer Alphonse Mouzon, a well-
respected and well-connected jazzer who's been around since before the
beginning of the fusion era. Take a look at the interview, then check out
some of his wonderful music. Next month's interview will be Rob Mullins.
Come on back for it and we'll see you again then with more CD reviews of
the best new R&J around! Till then, enjoy...
Dan Margules
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ULTRA! - THE SMOOTHEST AND THE COOLEST by Wayne Radcliffe
DI BLASIO - PIANO DE AMERICA 2 (BMG), 50:14
Think of pianist Raul Di Blasio as the Argentinean Yanni, if you will.
This stunning CD is the sequel to an earlier record that has sold over a
million copies in Central and South America and the U.S. Latin market.
Romanticists of any nationality will fall in love with this release.
"What's universal is the music and the instrument," says Di Blasio.
"Put
them together in the right way and you can go around the world." The
romantic CD is especially exciting on long drives in the country.
The grandeur of the London Symphony Orchestra brings a heightened majesty
to six tracks, including the opening title cut. But Di Blasio keeps the
pieces cooking with percolating Latin rhythms. The flavorful, fast-paced
"Delicado - Tico Tico" medley is a standout of the non-orchestra
pieces,
followed by the David Foster-like ballad "Detalles - El Gato Que Esta
Triste Y Azul" (medley) featuring extra passion from saxophonist Ed
Calle. Among the other gems are guest vocal accents from Julio Iglesias
and Juan Gabriel, plus a sensual arrangement of "What A Wonderful World"
sung beautifully by newcomer Wendy Pedersen.
TIM WEISBERG - NAKED EYES (Fahrenheit), 46:38
Flutist Tim Weisberg, best known for his TWIN SONS OF DIFFERENT MOTHERS
album with Dan Fogelberg in the late 70s, is one of the pioneers of the
type of contemporary instrumental music R&J is devoted to. Prior to
1986, when the industry term "contemporary jazz" was coined, Weisberg's
concert contracts specified his music could not be billed or advertised
as jazz. "I never considered myself a jazz musician in the traditional
sense and neither did my fans," says Weisberg. "I never analyze
what
type of music it is. I never have. I feel like I'm singing when I pay
the flute."
Weisberg's first CD in several years is highlighted by a handful of
hummable melodies penned by keyboardist Larry Cohn, balancing light,
groovin' funk with the flute's inherent sweetness. "I'm Talking To
You"
gets the ball rolling at a danceable speed. The perky "Brazilian Dance"
is equally enjoyable. The smooth title cut glides through the late night
air on a softer note. More rhythm is found on a pair of contributions
from keyboardist John Beasly, with "YoYo" augmented by a fine
guitar solo
from Pat Kelley. Former Weisberg band member David Benoit guests on the
artistic trio version of "Dion Blue" (remade from Weisberg's 4th
album)
with Todd Robinson on acoustic guitar.
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FEATURE STORY
EXCLUSIVE INTERVIEW WITH ALPHONSE MOUZON! by Dan Margules
Every year I compile a ten best list of my favorite R&J CDs of the year.
Last year's choice for the #1 position was an easy one. Drummer Alphonse
Mouzon composed a batch of some of the catchiest instrumental radio-ready
gems in the genre for THE SURVIVOR, the first CD on his own label,
Tenacious Records. Joining him was an astounding roster of the best sax
and guitar men in the business. Mouzon's new release, ON TOP OF THE WORLD,
is loaded with more of today's hottest players. We recently discussed his
substantial affiliations with the stars of R&J, and a whole lot of other
stuff, over lunch on a sunny afternoon at the Cheesecake Factory in
Woodland Hills.
R&J: Alphonse, you seem to know everybody! When I first saw you, you
had a then-unknown -- and unshaven -- sax player named Dave Koz in
your band.
MOUZON: Yes, that's right. I took Dave with me to San Diego when I
played the Catamaran. And he played with me in 1988 at Concerts
by the Sea in Redondo Beach. They went out of business -- the
fire, the whole coast went into the ocean, remember?
R&J: Oh yeah. I saw David Benoit there once. He used to be in your
band, too, didn't he?
AM: Yeah, when I was 24 or 25. He did his first studio album with me,
my MAN INCOGNITO, with Dave Grusin on keyboards. I had Benoit and
Grusin together. Benoit had heard of Grusin, so he was scared
going into the studio. I had Lee Ritenour on guitar. They're all
on the same label now. I put those guys together! Tom Scott was
playing sax. That's the MAN INCOGNITO on Blue Note. I wish I
could get those masters and put it out on Tenacious.
R&J: While we're talking about Tenacious, how did you start your own
label, and are there plans to sign other artists?
AM: I started a label by being tenacious. I sued Optimism Records in
1988 for ripping me off. They're out of business now. They were
ripping off everyone in the business. I was the only one with
enough tenacity to go after them. I went to federal court, the
Supreme Court. I had literally ten lawyers. My ex-wife was one
of them. I had more lawyers than O.J. Simpson. I won the case,
got all my masters back, and started Tenacious in 1992. I put out
THE SURVIVOR. It's got Lee Ritenour, an old friend of mine. Lee
came back. It's got Russ Freeman of the Rippingtons. George
Howard. Ernie Watts, great player. Kirk Whalum. Richard Elliot,
who's been playing with me since 1985. Brandon Fields has been
playing with me since 1986. Richard recommended him. And Gary
Meek on sax, who's been playing with me since 1989. And Welton
Gite on bass.
R&J: I notice Welton Gite is the bass player on all your records.
AM: And he was at my wedding, too. I've known him since he was 18.
Welton's been playing with me since 1977, when I took him to
Europe. He used to play with Marvin Gaye, R&B groups, Ronnie
Laws, Hubert Laws. I met him in 1975, when I came to L.A. He's
been playing with me since then, off and on. Then he stopped
going on the road because he got married. He's a computer expert.
He writes programs for companies and he does some computer
programming for me. So that's Welton. He's a great bass player.
That's why I make sure I record him, keep his name out there
[because he stopped doing sessions]. If I start signing artists
to Tenacious, Welton would be one of the guys I would sign. Him
and other guys I work with, like Jeff Daniels on keyboards. Guys
people have seen on my records. They would be the first two guys.
R&J: Considering you've worked with practically everybody, is there
anybody you have not gotten a chance to work with yet but would
like to?
AM: Chick Corea is one. Oscar Peterson. I recorded with Miles, on
the DINGO soundtrack, but not live. I was supposed to join his
band. He wanted me when I was with McCoy Tyner. Miles came to
the club on crutches. He was beating on my drums with them,
literally begging me to join his band, giving me tour dates. I
didn't want to leave McCoy. I could play what I want and have a
good spiritual leader, McCoy. So I stayed with McCoy.
R&J: Besides McCoy Tyner, you were also a charter member of the group
Weather Report. But what was your first big break?
AM: At 19, in New York. I went to New York when I was 17. I got of
high school, took a train to New York. I think I had maybe forty
bucks and a chicken sandwich. I stayed a week with my aunt.
Moved down the street, a couple of doors down, to an apartment.
It was not even an apartment -- it was one room -- that was $12 a
week. One big room that had a piano in it. Out of tune, but it
had a piano. Directly across the street was the Ross Carnegie
Society Orchestra. I went and auditioned, sat in with them. I
got the job. Drummer and roadie! Carrying around Hammond B3
organs! Anyway, those guys in that band were guys from Count
Basie's band, Duke Ellington's band. When they weren't working
with Duke or the Count, they would play with Ross Carnegie, a big
band orchestra, playing all the hotel ballrooms in New York. So
that's how I got my start in New York. At 19, I did my first
record with Gil Evans.
R&J: When did you first start playing?
AM: I started at the age of 5 in Charleston, South Carolina, playing a
toy set of drums. I progressed to a real set when I was 12.
R&J: Was the rest of your family musical?
AM: No. Later on, my younger sister became a clarinetist. But it was
hard for her to follow in my footsteps. I created a sensation in
Charleston when I was 14, 15, 16, by winning the all-state test
three successive years. She had the last name Mouzon, so she
hated me for it because they expected the same from her. It was a
problem for Elvena. She was the only one, other than me, to play
music. She did it. I was surprised.
R&J: Was it tough for your family to cope with all the drumming in the
house?
AM: No, my mother was cool. She let me play. The neighbors
complained, but she didn't. She was willing to let me practice
after I did my homework. It was always these neighbors that would
call up, "Hey, Emma, slap that boy! Tell him to shut up!"
R&J: You are a drummer, but you also play keyboards on your records.
Have you always been a multi-instrumentalist?
AM: Yeah. When I was 12 I started playing the piano and started
learning about theory and harmony in the high school band. I play
vibes. Maybe the next album I'll play some vibes. And I play
flute and trumpet. I practice my flute all the time. I gotta get
it fixed. I was thinking maybe I should just buy a new flute and
on my next record, start playing it and freak people out. My
trumpet is messed up, too. I want to buy me a flugelhorn, and on
the next record play some stuff. People will go, "Oh, wow!
You're kidding? Is that him?"
R&J: How about live? Are you always behind the drums?
AM: Yeah. Live playing I'm playing the drums and I'm playing the
keyboards. I get up and do a solo piano piece, you know.
R&J: Like "Alone In Paris" from EARLY SPRING? That's a really
nice
one.
AM: When I did that record, prior to doing that record, I had an
interview with a critic [Don Heckman of the L.A. TIMES], and he
told me, "You know, you should do more piano." And that gives
you
more encouragement when a critic tells you to do it.
R&J: It's nice to know that we journalists can influence musicians.
AM: Yes. So I did it on EARLY SPRING and it went over well. The cut,
"Alone In Paris", was well received.
R&J: Is that also when you made the transition to contemporary sounds?
AM: No. If you go back to my FUNKY SNAKEFOOT record for Blue Note, I
always had the funk in there, and commercial stuff. We're talking
about 1973. I was already doing the NAC type jazz back then. My
first record for Blue Note, THE ESSENCE OF MYSTERY, which is out
of print, that was New Age if you listen to it now. I mean, it's
all there, composition-wise. Some of the stuff was kind of new
age jazz folk, right in there.
R&J: This melodicism has always been with you, even though you're a
drummer?
AM: Yeah. I did it back then, in the 1970s, I was writing those
melodies. I was writing stuff for Weather Report. They never
recorded my stuff. That's why I left the group. I was one of the
original members of Weather Report. We started in 1970. Then I
went on to McCoy Tyner. Then from McCoy, I went to more fusion
rock. I wanted to be a rock star. I used to dress in my leathers
and I went out with Larry Coryell and 11th House. Randy Brecker
was in that band. It was a very pioneering band of the 70s fusion
music. Chick Corea and Return to Forever, they opened for us a
couple of times. We were very popular back then. And we
attracted a lot of rock stars.
R&J: I like the way the songs on ON TOP OF THE WORLD are grouped by
saxophonists. It keeps the flow. When you write a song, do you
have a specific horn player in mind? The Richard Elliot songs, in
particular, sound so perfect for his style.
AM: When I start writing the sax melody, sometimes I do. Yeah. I
went through the songs and I said, "Who would be good for this?
Now this is definitely Richard. And this is Brandon." When I
want jazz, some heavy, ballsy playing, something astonishing,
really ostentatious, I call Ernie Watts. When I want a smooth,
mellow, mellifluous sax sound, I call Richard.
R&J: Eric Marienthal is on here, too, on one track. He's an excellent
player with a lot of different sides to him!
AM: Yes. That was my first time using Eric. And he was great, so I'm
gonna definitely use him more.
R&J: Do you use computers a lot in your work?
AM: Not that much. I used it and I went back and kept some of the
stuff that was fed into it, but I wanted a more lively feel. I
compose on regular taped demos, then I give it to Welton and
Welton puts it on the computer. Then I listen to it to see if
it's too stiff, or what not. Then we go to the studio and I
record drums over it, and I record piano over it. If I didn't
like the parts, I'd do it over again, live, so it has a live feel.
Some of the sequenced stuff I might want to keep. Like one of the
songs called "The Morning After", it has a Madonna kind of thing
going through it, so I kept that with the computer because I liked
that feel. Then the acoustic and electric piano, and the bells, I
played all that live. You know, I paid him a fortune to do that
stuff, then I end up erasing stuff and putting things on myself,
live. It just gave me a basis to hear what I want to do,
creatively. I guess I'll probably do the same thing again.
R&J: By the way, congratulations, Alphonse! This is our third issue,
and you are the second of our three feature interviewees to have
been married within a month before the interview. As I asked
Daniel Ho, do you think it will change your music?
AM: Thank you. Yeah, August 14th I got married. It shouldn't change
the music, because it's a natural growth. It'll probably just
help it by keeping me positive, keeping me on an upswing, making a
good song romantic. When you're in love, you write good, positive
music.
R&J: What part does your wife, Allison, play in your work?
AM: As far as Tenacious goes, she handles the finances, budgeting,
retailers, and some college radio [promotion]. Advice-wise,
encouragement. She's very supportive. And so are the boys [Jean-
Pierre an Alphonse-Philippe, from Mouzon's first marriage]. They
do mailings, packaging, purchase orders. The boys are A&R, too.
Allison is new at it. She loves the music, but the boys are pros.
They send me back in the studio and say, "Wait a minute, you took
this out. Put that back in. I liked it better this way." I went
back in and did it, too. There's one song, I took the synth sax
out on "Aftershock" and Jean said, "No, go back. Put it back!"
So I do listen to my kids, you know. They influence me, too.
They know. They're honest.
R&J: Where do your melodies come from?
AM: They just appear. If I sit down, even if I'm not in the mood,
something will come. I just have to sit, and just fool around,
and something's gonna come. It just goes BAM -- okay, this is...
BOOM. Some things I throw away. I just can't record all this
stuff. I gotta stop, or I'd put out a record every month. I have
enough material for the next record, which I'll probably start
recording in a couple months. By November I should be in the
studio finishing up stuff. Before Christmas I want a new record
done.
R&J: Ever thought about doing a Christmas album?
AM: I want to do that. I wrote a Christmas song! I have to finish
the lyrics. I want to do traditional Christmas songs with some of
my songs on it. I was wondering, how would it be received? How
well would it do?
R&J: I think it would be wonderful. I heard Kenny G is doing one this
year.
AM: Kenny's doing one? No kidding? I should do that! I better get
one ready for next Christmas! See? Don Heckman told me I should
play piano more. And you tell me I should do a Christmas album.
R&J: I'm sure our readers will be happy to learn about the role we've
played in influencing that decision! Thanks for the chat,
Alphonse. We'll be on the lookout for that Christmas album.
AM: You're welcome. And you keep reminding me about it.
NOTE: Please see the end of this file for information on how you can get
Alphonse Mouzon's latest CD, ON TOP OF THE WORLD, for free!
RECENT ALPHONSE MOUZON DISCOGRAPHY:
(* denotes 1993 re-issue by Tenacious, others to follow soon)
* BY ALL MEANS (1981)
DISTANT LOVER (1982)
THE SKY'S THE LIMIT (1985)
* BACK TO JAZZ (1986)
* LOVE FANTASY (1987)
* EARLY SPRING (1988)
AS YOU WISH (1990)
THE SURVIVOR (1992, Tenacious)
ON TOP OF THE WORLD (1994, Tenacious)
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NEW RELEASES by Bethany Springs
JOE SAMPLE AND THE SOUL COMMITTEE - DID YOU FEEL THAT? (Warner Bros.),
53:03
GROOVE: More than makes up for last year's droll, acoustic INVITATION.
Has more in common with Crusaders than Sample's previous solo work.
Texas mid-tempo funk groove with New Orleans flavorings, Sample mostly
on electric piano, melodies carried by horn section (Oscar Brashear on
trumpet, Joel Peskin on tenor sax). Title refers to Northridge
'quake.
HIGHLIGHTS: Every track really shines; swinging version of "The
Sidewinder"; seven simmering minutes of "The Last Buzz";
cool acoustic
piano appearance on "While It's Good"; soulful attitude of "Brother,
Can You Spare Your Car?"; basic groove by drummer Steve Gadd and
bassist Freddie Washington.
ALSO CHECK OUT: Crusaders' THE GOLDEN YEARS and LIVE IN JAPAN (GPR);
Wayne Henderson & The Next Crusade's BACK TO THE GROOVE (PAR)
EROTIQUES - MUSIC FOR ROMANTIC INTERLUDES (Playfull), 58:42
GROOVE: Soundtrack for intimacy with steamy saxophones by Dino Soldo and
pelvic-thrusting bass by Jorgen Carlsson. Tunes composed by guitarist
James Baker and Scott Borden. First in a series on new label,
Playfull Records, 740 N. LaBrea Ave., 1st Floor, Los Angeles, CA
90038.
HIGHLIGHTS: Tasty introduction "Anticipation"; super-hot, super-sensual
"Crystal Glances" and "Satin Ballet"; jazzy, bluesy
"Aperitif"; a
couple long (9 minutes), relaxing pieces.
ALSO CHECK OUT: DREAMSTREET (Artful Balance); Shakatak; Rick Braun's
INTIMATE SECRETS (Mesa)
WILLIE & LOBO - FANDANGO NIGHTS (Mesa), 65:51
GROOVE: Willie Royal (violin) and Wolfgang "Lobo" Fink (guitar)
call
themselves "rockin' gypsy surfer dudes." Sparse, acoustic
instrumentation covers festive styles from France, Egypt, Puerto
Vallarta (their home), and beyond. More creative than last year's
debut, with better support from guest musicians (co-producer Rick
Braun, Brad Dutz and Efrain Toro on percussion, Steve Kujala on
soprano sax on two cuts, cello by Suzie Katayama on one cut).
HIGHLIGHTS: Memorable, hummable title cut stands out; sweet longing of
the violin's melody on "Sweet Meandering"; easy-going rhythm on
melodic "Bahia De Banderas"; quickening pace of "A Dozen
Camels";
bagpipe emulation on closing march "Royal Reel".
ALSO CHECK OUT: W&L's debut, GYPSY BOOGALOO (Mesa); Grant Geissman's
RUSTIC TECHNOLOGY (Bluemoon)
PAT KELLEY - THE ROAD HOME (Positive), 49:39
GROOVE: Big change from what his pop-jazz fans are used to. Warm tones
from Kelley's electric guitar glide over mostly acoustic players in
jazzier setting than usual. First outing in five years includes a few
trios, a blues vocal sung surprisingly gritty by Kelley, and closes
with unique rendition of "Amazing Grace".
HIGHLIGHTS: Sole contemporary cut, the George Benson-ish "Big Sky",
featuring and co-written by sax/flutist Gary Herbig; David Witham's
piano solo on cool title cut; breezy "Toucan Dance"; Jerome Kern
standard "The Way You Look Tonight".
ALSO CHECK OUT: Kelley's I'LL STAND UP (Nova); David Benoit's WAITING
FOR SPRING (GRP); Lee Ritenour's STOLEN MOMENTS and WES BOUND (GRP);
Henry Johnson
TAKE 6 - JOIN THE BAND (Reprise), 50:55
GROOVE: Normally _a cappella_ doo-wap/gospel vocal sextet adds top L.A.
musicians to many tracks with profound results. Full of inspiration
and soul.
HIGHLIGHTS: Friendly lyrics and Ray Charles' lead vocal on "My Friend";
inspirational cover of Ambrosia's "Biggest Part Of Me"; full band
versions of biblical "It's Gonna Rain" and David Foster's "You
Can
Never Ask Too Much (Of Love)"; snappy "I've Got Life"; Stevie
Wonder's
guest vocal on soulful ballad "Why I Feel This Way".
ALSO CHECK OUT: Marc Beacco's THE CROCODILE SMILE (Nova)
EARL KLUGH - MOVE (Warner Bros.), 52:01
GROOVE: Breezy, textbook R&J. Klugh's trademark acoustic guitar sound
flows through light funkers and gentle soothers. No disappointments
on this disc. First good one since experiments with trio and solo
projects.
HIGHLIGHTS: Wordless background vocal arrangement on "Across The Sand";
bouncy, happy "Tiptoein'"; boogeyin', melodic "Nightwalk";
catchy
"Doin' It".
ALSO CHECK OUT: Klugh's SODA FOUNTAIN SHUFFLE, WHISPERS AND PROMISES,
COOL (with Bob James), and COLLABORATION (with George Benson) (Warner
Bros.); Rene Toledo's THE DREAMER (GRP); Ric Flauding's LETTERS
(Spindletop); Thom Rotella, Phil Sheeran
CUSCO - APURIMAC II (Higher Octave), 53:00
GROOVE: Ominous rhythms and electronic soundscapes with airy, flute-like
synthesizer melodies. Michael Holm imaginatively blends light and
dark moods into his music.
HIGHLIGHTS: Triumphant opener "Montezuma"; tribal, hypnotic "Tula";
happy, uplifting "Quetzal's Feather"; mysteriously languid "Maya
Temple"; very clean recording.
ALSO CHECK OUT: Jan Hammer's BEYOND THE MIND'S EYE (Miramar); Eko's
ALTER EKO (Higher Octave); Ancient Future's ASIAN FUSION (Narada
Equinox)
KIRWAN BROWN - COOL GROOVES (Fahrenheit), 48:41
GROOVE: Slammin' electric bass chops showcased on hip debut from
Colorado-based Brown. Some fine melodies shine through, but more
oriented to the groove and dynamic performances.
HIGHLIGHTS: Rockin' funker "Tell Me Who You Are" with melodic
lead by
Images saxman Bob Rebholz on soprano; killer horn section in
"Certifiable" featuring Nelson Rangell; playful "For Now"
highlighting
acoustic piano chops of Eric Gunnison; rip-roaring bass solos
throughout.
ALSO CHECK OUT: Brian Bromberg's BASSICALLY SPEAKING (Nova); Images'
GOIN' UPTOWN (Capitol)
PAUL WINTER - PRAYER FOR THE WILD THINGS (Living Music), 68:23
GROOVE: Highly unusual outing, in tribute to wild animals of the
Northern Rockies, inspired by wilderness art of Bev Doolittle. Live
nature sounds recorded in concert with Winter's soprano sax and his
soothing ensemble. Progresses from "Morning" section, through
"Afternoon", "Twilight", and "Night", to "Overture
To A New Day",
putting listener right in the splendid quietude of the Rocky Mountains
for a day. Portion of proceeds goes to various wildlife charities.
HIGHLIGHTS: Winter's solos played extemporaneously, on location,
answered by the voices of 27 birds and mammals, including elk, a pack
of wolves, and a startled flock of geese that startles the performer;
musically, "Buffalo Prairie" and "Moose Walk" have legs;
Arlie Neskahi
and the White Eagle Singers on the wild "Dance Of All Beings".
ALSO CHECK OUT: Winter's ten CD set THE EARTH MUSIC COLLECTION (Living
Music, call 800/437-2281)
MATT BIANCO - ANOTHER TIME ANOTHER PLACE (JVC), 52:58
GROOVE: Jazzy British pop duo (Mark Reilly, vocals, and Mark Fisher,
keyboards) survives (fifth album, tenth anniversary) on label debut
without original members Danny White and Basia. R&B, dance-oriented
beats propelled by thumping synth bass lines, with multitude of
influences from black to Latin. War's "The World Is A Ghetto"
adapts
well to their style. Includes one bonus cut not on 1993 European
release.
HIGHLIGHTS: Infectious opener "Our Love"; salsa-flavored counter-melody
of "Buddy Love"; jazzy, charming vocal duet (with Jacqui Hicks)
"Head
Over Heels"; driving instrumental title cut featuring sax by Dave
O'Higgins.
ALSO CHECK OUT: Matt Bianco's WHOSE SIDE ARE YOU ON (Atlantic); Basia's
TIME AND TIDE (Epic); Swing Out Sister, Simply Red
OTHER NEW STUFF...
MATT BALITSARIS AND JEFF BERMAN - BIG BLACK SUN (Palmetto)
Gentle offerings of guitar and vibes.
BASIA - THE SWEETEST ILLUSION (Epic)
3rd from Polish singer; more personal but songs will grow on fans.
BONEY JAMES - BACKBONE (Warner Bros.)
Hip sophomore outing from emerging R&J sax star.
CRAIG CHAQUICO - ACOUSTIC PLANET (Higher Octave)
Acoustic guitar in unique atmosphere; superb 2nd offering.
CHICK COREA - EXPRESSIONS (GRP)
Solo acoustic piano jazz standards ("Lush Life", "Monk's
Mood", etc.).
AL DI MEOLA - ORANGE AND BLUE (Bluemoon)
Electric and lyrical, somewhere between World Sinfonia and KISS MY AXE.
THE MICHAEL GARSON ENSEMBLE - SCREENTHEMES '93 (Discovery)
R&J renditions of 1993 movie themes; first in new series.
MILT JACKSON - THE PROPHET SPEAKS (Qwest/Reprise)
Vibesman's traditional jazz date with Joe Williams and Joshua Redman.
VAIL JOHNSON - TERMINATOR (Lucky)
Kick-ass, muscular debut from Kenny G's bassist.
WAYNE JOHNSON TRIO - GRASSHOPPER (MoJazz)
Inventive, non-commercial jazz with Bill Berg and Jimmy Johnson.
MICHAEL JONES - AIR BORN (Narada Lotus)
Four long, soothing solo piano tracks for relaxation.
BILL MACPHERSON - MANY RIVERS (Palmusic)
Second "electric African jazz" jungle party for San Diego guitarist.
KEIKO MATSUI - DOLL (White Cat)
One of the prolific Japanese New Age/jazz keyboardist's best releases.
MIDNIGHT SKYE - PAINT WITH FIRE (SDA)
Enchanting New Age by Joseph LoPresti; flutes, harps, soprano sax, etc.
NEE SACKEY - MY FATHER'S SON, MY BROTHER'S BROTHER (Palmusic)
Fast-paced African/American hybrid on San Diego bassist's debut.
IRA STEIN GROUP - SPUR OF THE MOMENT (Narada Equinox)
Fluid "chamber jazz," live in studio, with piano, sax, and cello.
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COOL CLASSICS by Wayne Radcliffe
JOHN KLEMMER - TOUCH (MCA), 1975, 48:39
The vanguard of Jazz Erotica, this nearly two decade old album is about
as far back as the R&J archives reach, but it certainly doesn't sound
the
least bit dated. The tone of dreamy seduction remains consistent
throughout all eight tunes, headed up by Klemmer's sexy tenor saxophone
and Dave Grusin's warm Fender Rhodes. Larry Carlton contributes acoustic
guitar to two tracks, with additional support from other heavy session
players of the day (Harvey Mason, Joe Porcaro, Emil Richards, George
Duke, Chuck Rainey; and, in core band, electric bass by Chuck Domanico
and drums by John Guerin). But it's Klemmer who sets the mood.
Title cut gets the ball rolling like a steamy, slow-motion love scene in
a movie. "Glass Dolphins" follows suit. Mood consistency is more
important for this record than variety. "Waterwheels" actually
slows
things down a little more, leading into the tumbling "Free Fall Lover".
The second half continues with the beautiful "Sleeping Eyes" and
heats up
a fraction with "Body Pulse". Klemmer next moves into more spacey
territory with the trance of "Tone Row Weaver", ending with his
prayer,
"Walk With Me My Love And Dream", spoken in his most sensitive
Barry
White voice.
If you're looking for music to play on a date, when you uncork the wine
and turn the lights down low, TOUCH is the quintessential answer. The
romantic magic of TOUCH remains untouched by any CD that has come since.
-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-
ABOUT R&J
RHYTHM & JAZZ is published monthly by Dan Margules and uploaded to the
jazz
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RHYTHM & JAZZ is SHAREWARE. If you enjoyed reading this issue of R&J,
please support it with a small donation so that we may continue bringing
you exclusive feature articles and reviews of the latest and greatest in
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a FREE CD. This month's free CD is:
"ON TOP OF THE WORLD"
ALPHONSE MOUZON's _BRAND NEW_ compact disc!
Compliments of TENACIOUS RECORDS!
Alphonse Mouzon scores again with
thirteen ear-tickling tunes and a
plethora of renowned special guests!
To register this issue of RHYTHM & JAZZ and receive our free CD:
Please send a check or money order for $15.00
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For orders to be shipped outside the United States,
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STAFF:
Publisher/Editor: Dan Margules
Contributing Writers: Wayne Radcliffe, Bethany Springs
RHYTHM & JAZZ ELECTRONIC NEWSLETTER
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RHYTHM & JAZZ, VOL. 1, NO. 3, Copyright (c) 1994 Dan Margules. All rights
reserved.
