浮世击 Yellow

Malia - Yellow Daffodils (2003) {Epic 503369/5 - bonus tracks}
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© 2003 Epic / Rêve Orange / Sony Music | 503369/5
Jazz / Vocal Jazz / Neo Soul / Soul Jazz / Jazz Pop

Malia's vocal style is one that's powerful, jazzy, classy, and daring from a musical perspective. The different tracks on the album showcase her willingness to experiment with big-band, jazz, hip-hop, soul, and international sounds. A couple of tracks that stand out are the up-beat "Lifting you high," her sensual and seductive "India Song," and her rendition of "solitude." It is quite a shame that this artist will (probably) never see her album being released in the uS, as her style doesn't "fit" the mold of the American urban and R&B stations. It is too classy to be noticed by fans of simple stuff like Ashanti or Mariah Carey.

Always one of the most in demand bassist and session men. He does not have a large body of work as a featured artist, but here you can catch him in a rare environment. This time he gets to lead and pick the tracks. A great find.This needs to be added to a serious jazz library, as the important jazz figure he is.

The blind pianist Tete Montoliu was a marvel to listen to, though most of his recordings were made for European labels which were poorly distributed in the U.S. This 1977 solo effort for Timeless finds him in top form. A pair of his original compositions are thinly disguised (but enjoyable) reworkings of standards, including "Yellow Dolphin Street" (adapted from "On Green Dolphin Street") and "I Hate You" (from Cole Porter's "I Love You"). But the pianist more than does justice to two great jazz ballads: Duke Ellington's "Come Sunday" and Tadd Dameron's "If You Could See Me Now." The highlight of the date may very well be his dazzling composition "Napoleon." Although this may be one of Tete Montoliu's more obscure recordings, it is also one of his finest.

The debut album by Emma-Jean Thackray feels exactly like the sort of thing we’ve been longing for over the last 12 months: a transcendent, human, shared experience. Across its 49 minutes, Yellow draws glowing lines between ‘70s jazz fusion and P-Funk, the cosmic invocations of Sun Ra and Alice Coltrane, and the gorgeous orchestration of the Beach Boys.

Yellow Hedgerow Dreamscape is a compilation album by British progressive rock band Porcupine Tree (at that time a pseudonym for private solo projects by Steven Wilson but later a fully fledged band in its own right). It is a compilation of the band's initial three tapes, Tarquin's Seaweed Farm, Love, Death & Mussolini and The Nostalgia Factory. It consists of the rest of the music from the tapes that was not included in the band's first studio album On the Sunday of Life… and a previosuly unreleased track "An Empty Box".

Of all of Eberhard Weber's classic albums Yellow Fields is probably the most likely to appeal to the average prog fan. First of all because it opens with "Touch", the most "symphonic" piece Weber has ever recorded without using an actual orchestra: a lush, stately, moving instrumental ballad with gorgeous mellotron, and with the main melody played in unison by Charlie Mariano's lyrical sax, Rainer Brueninghaus's synth and Weber's own plangeant bass. "Touch" is utterly delightful, a major highlight in Weber's oeuvre.

John Fahey - The Yellow Princess (1968) {Vanguard Records 79795-2 rel 2006}
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© 1968, 2006 Vanguard Records | 79795-2
Finger-Picked Guitar / Contemporary Folk / Folk Jazz / Folk-Blues / Progressive Folk

This particular John Fahey side is a personal favorite of many of his devout fans for several reasons. And although such a judgment is tough, if one were looking to own only one album by this unique guitarist, The Yellow Princess could be the one. The recording sound is among the best of his many releases; at the proper volume, the effect is as if one had taken up residency inside the sound hole of a giant acoustic guitar. The program of pieces is marvelously emotional and varied, with many moments of precisely stated harmonies moving at courageously slow tempos. The second piece on the first side, "View (East from the Top of the Riggs Road/B&O Trestle)," is surely one of his masterpieces, on a par with Charles Ives for musical Americana.