German-born composer and arranger Claus Ogerman, born in 1930, must rank as one of the most versatile musicians of the twentieth century. When he was at his peak in the 1970s, writing everything from ballet scores to arrangements for Brazilian composer Antonio Carlos Jobim, diva Barbra Streisand, and jazz/R&B saxophonist George Benson, there was hardly a radio station on the dial where his music wasn't heard during the course of a typical day – and he's still quite active. The key to his success has been his ability to stay in the background behind the musician he's working with and yet create something distinctive.
Sanborn's '83 release brought a new meaning to late night or midnight music listening ! By no means is this elevator muzak, either ! In fact, Sanborn was on the cutting edge in using drum machines and synthesizer arrangements without stifling his sax playing or throwing the whole project out of whack. Sanborn's playing is very upfront and sharp ! While the recording may sound dated, it is only in a very good positive way to demonstrate what is lacking in some of today's so-called pop-jazz or r & b instrumentalists.
Love All The Hurt Away is an Aretha Franklin album, the singer's second release for Arista Records. Aretha's cover version of Sam & Dave's classic hit "Hold On! I'm Coming" won Franklin her 11th Grammy Award in the Best R&B Vocal Performance, Female category. It was her first Grammy win since 1974.
How's this for a definition of a smooth jazz elder statesman: one whose career spans an entire generation, whose hit album in 1999 uses the same instrumentation and stylistic approach as his first demo 24 years before, only now those old instruments and style are hip again as part of a retro movement? Listened to side by side, Midnight and his 1977 breakthrough Water Sign are like twin sons born to the same family years apart. In addition to the hypnotic clicking wah-wah guitar grooves, both albums focus on Fender Rhodes and Hammond B-3, the attractive one-two keyboard punch Lorber has favored for all of his career but the mid-'80s when he experimented with techno sounds. Lorber sets the tone on the hiss-and-pop LP effect before the music begins on "Down Low."
LOU PARDINI is a Grammy nominated singer/songwriter, keyboardist, and producer who has written and performed with such world renowned artists as Smokey Robinson, Stevie Wonder, Santana, Robben Ford or Jay Graydon just to name a few. Since Bill Champlin left CHICAGO in 2009, Lou take his place. So you have an idea of his style.
Produced for release by John Matarazzo, head of Hudson Street Entertainment group, this 109-minute long DVD includes highlights from the 1990 and 1991 issues of the now defunct Live Under The Sky jazz festival. Filmed in Tokyo, starts with an all-star quartet - Herbie Hancock, Pat Metheny, Dave Holland (on electric bass!) and Jack DeJohnette - performing "Jack In".
After a seven year layoff, feisty veteran funkmaster Lorber steps out from the producer's chair with a fun filled all star project. The keyboardist, best known for his fusion years, has been far from idle during that time, producing for pop jazz sax gods Kenny G and Eric Marienthal, and mixing for U2 and Paula Abdul. His latest lives up to its title…though not resoundingly so. As he did with Marienthal's brilliant Oasis, Lorber divides his keyboard time between punchy, soulful rhythms and mellifluous textures that pour on the romance. Easygoing exercises like "Yellowstone" and the Latin tinged "Punta Del Soul" inspire a cool charm, but it's danceable cookers like "High Wire" and "Jazzery" that keep the disc spiraling
Stevie Wonder was getting his fusion of soul, rock, and various other styles together when Music of My Mind appeared in early 1972. A bit shapeless compared with Talking Book, the masterpiece he'd release by the end of the year, this disc nonetheless finds the then-21-year-old self-assuredly deploying an array of synthesized textures and natural voices: check out the drawl lurking around the edges of "Sweet Little Girl." Not an essential album, but an entertaining one–and one that, in retrospect, carried enormous implications for the future of American music…