Joss Rouse

Typically, artists dispense with introductions after their debut - after all, that is an album designed to introduce them to the world - but neo-soul singer Joss Stone defiantly titled her third album Introducing Joss Stone, thereby dismissing her first two relatively acclaimed albums with one smooth stroke. She now claims that those records were made under record-label pressure - neatly contradicting the party line that her debut, The Soul Sessions, turned into a retro-soul project after Joss implored her label to ditch the Christina Aguilera-styled urban-pop she was pursuing - but now as a young adult of 19, she's free to pursue her muse in her own fashion…

Joss Stone - Introducing Joss Stone (2007) [CD+DVD] {Virgin Deluxe Edition}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 326 Mb | MP3 @320 -> 111 Mb
DVD5 -> 1.95 Gb | All Regions | PAL 4:3 | English (LinearPCM, 2 ch) | ~33 min | ISO Image
Full Artwork @ 300 dpi (png) -> 55 Mb | 5% repair rar
© 2007 Virgin Records | 0946 3 89653 2 9
R&B / Neo-Soul / Soul / Adult Alternative Pop

Typically, artists dispense with introductions after their debut – after all, that is an album designed to introduce them to the world – but neo-soul singer Joss Stone defiantly titled her third album Introducing Joss Stone, thereby dismissing her first two relatively acclaimed albums with one smooth stroke. She now claims that those records were made under record-label pressure – neatly contradicting the party line that her debut, The Soul Sessions, turned into a retro-soul project after Joss implored her label to ditch the Christina Aguilera-styled urban-pop she was pursuing – but now as a young adult of 19, she's free to pursue her muse in her own fashion.

This 1962 date by tenor saxophonist Charlie Rouse celebrates a grander and funkier scale of what Stan Getz and Charlie Byrd did earlier in 1962 with the bossa nova. Unlike Getz, Rouse didn't feel he needed to be a purist about it, and welcomed all sorts of Afro-Caribbean variations into his music. His choice of bandmates reflects that: a three-piece percussion section with drummer Willie Bobo, conguero Carlos "Patato" Valdes, and Garvin Masseaux on chekere (a beaded percussion instrument that is played by being shaken). Add to this bassist Larry Gales, and a pair of guitarists, Kenny Burrell, and Chauncey Westbrook, along with Rouse, and it is an unusual and exotic sextet. Burrell and Masseaux were part of Ike Quebec's band on Soul Samba, but the two recordings couldn't be more different.

The "free" in the title to Joss Stone's fourth album apparently refers to the neo-soul singer breaking free from the shackles of her major label, EMI, who apparently have not let Joss be Joss. That this constricting argument happens to be the exact same story line Stone used for 2007's Introducing Joss Stone, the splashy diva power trip meant to unveil the "real" singer, is conveniently forgotten, as is the modern R&B of that makeover, with Joss returning to all the retro-soul of her first two records. The one lingering element of Introducing is a propensity for melisma-laden oversinging, a tic that stands out greatly in the warmer, funkier settings of Colour Me Free!, helping Joss seem somewhat disconnected from the emotional thrust of her music. Still, her raw vocal skills remain impressive, as does her taste in soul, and even if this feels off-kilter, not quite achieving a balance between retro and modernity, it does beat with a messy human heart, one that was subdued on Introducing, so perhaps she did need to break free.

Young flautist Katherine Bryan is rapidly establishing her place as one of Britain’s bright musical stars of the future. For her second recording on Linn, the in-demand concerto soloist performs a selection of 20th century concertos plus Debussy’s Syrinx and Frank Martin’s Ballade. The Flute Concerto by American composer Christopher Rouse is among his most successful and widely performed works since its debut in 1994. Rouse’s concerto calls for astonishing pyrotechnics for both the flute and the orchestra; Katherine is able to showcase the sheer quality of her technique and her playing.

This CD combines two excellent Epic albums from 1960-61. The first six tracks comprise Rouse's "Yeah!" album with Billy Gardneer, Peck Morrison and Dave Bailey. "We Paid Our Dues" occupies the last six tracks. Rouse is heard on tracks 8, 10 & 12 with Gildo Mahones, Reggie Workman and Art Taylor. Another great and underrated tenor player Seldon Powel is featured on tracks 7, 9 & 11 with Lloyd Mayers, Peck Morrison and Denzil Best.