Shirley Caesar

Wynton Marsalis - Reeltime (1999) {Columbia–Sony Classical SK51239}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 326 Mb | MP3 @320 -> 143 Mb
Full Artwork @ 300 dpi (jpg) -> 10 Mb | 5% repair rar
© 1999 Columbia / Sony Classical | SK 51239
Jazz / Neo-Bop / Jazz Blues / Trumpet

Sometimes even the powerful Wynton Marsalis has to take no for an answer, as his score for the film Rosewood was commissioned and completed but ultimately not used. In this case, it's clearly the filmmakers' loss, for Marsalis has written a soulful, stylistically wide-ranging set of cues that he put out anyway as part of his massive 1999 release schedule. The theme song for Rosewood is a cool, studied, country blues-flavored tune with Cassandra Wilson exploiting the husky tones of her bottom range.

Sharrie Williams has a powerful voice, with a range that can reach and rattle the castle tower one minute, while soothing the soul of a crying child the next, she possess an unaffected nature, which gives her grace and a sensibility that pays homage to the great female artist of rock and blues without ever being imitative, in short, Sharrie Williams is the real deal, a true original. She brings you in, by singing her insides out, hearing her is a pure delight, but seeing her perform will make you a believer.

This wonderful four-disc, 105-track box of postwar Afro-American gospel releases from the 1940s and 1950s was compiled by record collector and gospel historian Opal Louis Nations, and it perfectly captures what was surely a golden age for black gospel. Gospel as we now know it emerged in the South in the early '30s, an outgrowth of the right to assemble and the advent of gospel songwriters like Thomas A. Dorsey (who had sung previously in the secular arena as Georgia Tom), who brought the blues to church, tossed in some ragtime piano rhythms, and almost single-handedly created the genre to the point that his compositions were simply known as "Dorseys.

Nascente's Beginner's Guide series has offered excellent primers on a wealth of neglected genres – salsa, tango, Indian filmi music, Arabian music, and many more – so it shouldn't come as a surprise that their three-disc volume of gospel music is a success as well. What may be surprising, though, is that its primary achievement isn't to resurrect a brace of hoary old chestnuts (many of which have already been reissued) but to shine a light on gospel's relatively recent past, which has suffered more than the classic gospel of the '40s, '50s, and '60s.

Urban Network declares “Kevin Toney has proven himself to be among the most masterful and versatile keyboardist of his generation, playing with a technical proficiency that is at the absolute peak of the contemporary jazz game.” Billboard Magazine notes “Toney's piano skills and ear for melody set him apart from the pack and make him enjoyable and engaging."