Will O The Wisp

A monumental innovator, icon, and maverick, trumpeter Miles Davis helped define the course of jazz as well as popular culture in the 20th century, bridging the gap between bebop, modal music, funk, and fusion. Throughout most of his 50-year career, Davis played the trumpet in a lyrical, introspective style, often employing a stemless Harmon mute to make his sound more personal and intimate. It was a style that, along with his brooding stage persona, earned him the nickname "Prince of Darkness." However, Davis proved to be a dazzlingly protean artist, moving into fiery modal jazz in the '60s and electrified funk and fusion in the '70s, drenching his trumpet in wah-wah pedal effects along the way.

"He's not just a percussionist," seems to be the message Mino Cinelu is trying to convey on his eclectic first solo album after a lengthy career as an accompanist to jazz and pop stars. In that attempt, he steps out from his battery to sing, play guitars and flute, and to compose, arrange, program, and produce the music. The results range from the folk-rock feel of "Confians" to the South African flavor of "Chouval Boa" and the Latin sound of "See Yea - Salee Yea" (which will remind pop fans of Lionel Richie's "All Night Long (All Night)" ). But it takes nothing away from Cinelu's varied abilities to say that he is really a percussionist writ large on this album, one who has a fondness for nature (wind in "Moun Madinina," crickets in "Shibumi Dunes (Silk Road)" ) and unusual drum sounds (the latter a definitional characteristic of percussionists). Therefore, your level of interest in the recording will depend on how fond you are of percussion.

This intriguing set features percussionist Mino Cinelu with Kevin Eubanks (on acoustic guitar) and bassist Dave Holland. They perform four Eubanks songs, three by Holland, and two from Cinelu, music that ranges from exotic sounds to light and creative funk grooves. It is quite intriguing hearing Eubanks sticking exclusively to his acoustic guitar and Cinelu adds plenty of catchy yet unpredictable rhythms. However, Holland often takes solo honors and he usually holds the group together with his authoritative and flexible sound. Very interesting music that's worth listening to closely several times.

The Grammy winner takes on and transcends the physical, creative, and conceptual challenges of Miles Davis-Gil Evans' milestone recording and makes a powerful musical statement of his own.

The time is right for CBP to finally release a recording made up of cover versions. "Horrific Honorifics" is an unashamed celebration of songs that have either influenced Justin Greaves and CBP in music and life, or have been on the “cover song short list” for quite some time, waiting to be recorded once the opportunity arose.
Throughout the history of the band there have always been the occasional cover songs, but mostly consigned to the extra-or-hidden-track department, although a couple of songs made it onto albums such as “Of A Lifetime” on I,Vigilante, and most recently “Turn To Stone” on the critically acclaimed album Bronze, which were instant hits and popular live songs. Now it’s time to dedicate a whole release to this CBP tradition…

Pet Shop Boys resume their exceptional late-period run with Hotspot, their third in a series of high quality collaborations with producer/engineer Stuart Price. Recorded at Berlin's legendary Hansa Studios, the acclaimed duo's 14th album finds them firmly in their element, delivering crisp electro-pop invocations, wry dance bangers, and melodic gems both sunny and stormy. Still more or less in the self-described "electronic purist" mode of 2013's Electric and 2016's Super, Neil Tennant and Chris Lowe make a few allowances here, particularly on the melancholic standout, "Beneath the Heather," which features some crafty psych-inspired guitar work from Suede guitarist Bernard Butler.

Pet Shop Boys resume their exceptional late-period run with Hotspot, their third in a series of high quality collaborations with producer/engineer Stuart Price. Recorded at Berlin's legendary Hansa Studios, the acclaimed duo's 14th album finds them firmly in their element, delivering crisp electro-pop invocations, wry dance bangers, and melodic gems both sunny and stormy. Still more or less in the self-described "electronic purist" mode of 2013's Electric and 2016's Super, Neil Tennant and Chris Lowe make a few allowances here, particularly on the melancholic standout, "Beneath the Heather," which features some crafty psych-inspired guitar work from Suede guitarist Bernard Butler.