| | Natsuki Tamura White & Blue CD Natsuki Tamura Discography of CDs
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Personnel: Natsuki Tamura (trumpet); Jim Black, Aaron Alexander (drums, percussion).
Recorded at Systems Two, Brooklyn, New York on October 26, 1998 and April 18, 1999.
Personnel: Natsuki Tamura (trumpet); Aaron Alexander, Jim Black (drums, percussion).
Recording information: Systems Two Studios, Brooklyn, NY (10/26/1998-04/18/1999).
Photographer: Satoko Fujii.
White is white, but there are 500 shades of blue. These are the colors from the improvised palette of trumpeter Tamura, who gets percussion help here from Jim Black and Aaron Alexander. These ten duet tracks are numbered one through ten, with the first five featuring the ever-witty Black. Triple pianissimo sounds creep in with softly bleating horn and pounding percussion on track one, while flute, roiling percussion, and a minimal, repeated trumpet theme recalling a comedic Lester Bowie highlight track two. Flushing trumpet, softly growling brass, and Black's oriental drumming inform track three. Track four features a Native American chant with scatting and plenty of Satchmo-isms, and the military-themed track five is driven by a rambling melodicism. Tamura and Alexander share an African chant on track six, while track seven features a dance-oriented foundation and a more Don Cherry-like sound from Tamura. Track eight is much more spatial in call-and-response mode; nine features long tones, silence, and a strutting, Ed Blackwell-type beat over squawky trumpet; while ten is much more interactive and purposeful, using several different no-time segments over the course of its nine minutes. Acting as a creative concerto, White & Blue works as a whole, but it must be listened to in its entirety to be fully appreciated. ~ Michael G. Nastos Natsuki Tamura White & Blue Songs White & Blue Review
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Purchase White & Blue CD To buy, Click on price to add to cart | Jazz Icons Series 4 Box Set DVDs (2009)
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Personnel: Robben Ford (vocals, guitar); Neal Evans (Hammond b-3 organ); Toss Panos (drums).
Audio Mixer: John Paterno.
Photographer: George Wells.
Some of guitarist Robben Ford's weaknesses, such as song composition and vocals, are rectified or at least made less obvious, on this predominantly live release. On his fourth release for the Concord label, Ford is able to cherrypick better material from inconsistent albums, unearth choice covers, and generally broaden the music with his fiery playing. This, along with the natural energy generated by the stage environment, focuses attention on the guitarist's skills as a creative six-string bluesman who expands the narrow confines of the genre by adding soul and jazz influences. He kicks off the set with a lazy, wah-wah enhanced "Supernatural," the title track to his 1999 disc, and revs up the energy from there, jumping into the instrumental "Indianola." This is where Ford seamlessly combines rock, blues, jazz, and surf into a five-minute tour de force, leading one to believe that a vocal-free show might display his superb ...
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To listen to the band's seventh album, you'd never guess what a rough and rocky road Big Mountain has traveled since its debut as Shiloh in 1989. Only one member remains from the original lineup that changed its name to Big Mountain with the Wake Up album in 1992, and the new bandmembers have plenty of horror stories about their messy departure from a major label and their struggles to keep the band together in the years that followed. But now, the group is running its own label and seems to be back in the swing of things, and if you didn't know about its difficult history you'd never guess it had one based on the sound of New Day, an album that confirms in its every joyous riff and catchy chorus the kind of bright-eyed optimism that its title implies. As always, Big Mountain is working in a consciously pop-oriented reggae mode, with solid production that walks the fine line between pleasing smoothness and off-putting slickness without ever tipping over on the wrong side of it -- well, almost never. "Straight to My Heart," which features Warren Hill's smooth jazz saxophone, is maybe just a bit too lush and fruity, but there's a subtle edge to the electronic rhythms on the Latin-flavored "Terra Indigena" and the groove that underlies "Wind" has a certain funky bite to it as well. Several tracks, notably the swinging "What Do We Mean to Each Other" and "Straight to My Heart," recall Steel Pulse's heyday in a pleasing way. But the album really hits its peak at the very end, with the spare one-drop groove of "Vibes Up Strong" and the similarly rootsy "Do Right." Recommended. ~ Rick Anderson
To listen to the band's seventh album, you'd never guess what a rough and rocky road Big Mountain has traveled since its debut as Shiloh in 1989. Only one member remains from the original lineup that changed its name to Big Mountain with the Wake Up album in 1992, and the new bandmembers have plenty of horror stories about their messy departure from a major label and their struggles to keep the band together in the years that followed. But now, the group is running its own label and seems to be back in the swing of things, and if you didn't know about its difficult history you'd never guess it had one based on the sound of New Day, an album that confirms in its every joyous riff and catchy chorus the kind of bright-eyed optimism that its title implies. As always, Big Mountain is working in a consciously pop-oriented reggae mode, with solid production that walks the fine line between pleasing smoothness and off-putting slickness without ever tipping over on the wrong side of it -- well, almost never. "Straight to My Heart," which features Warren Hill's smooth jazz saxophone, is maybe just a bit too lush and fruity, but there's a subtle edge to the electronic rhythms on the Latin-flavored "Terra Indigena" and the groove that underlies "Wind" has a certain funky bite to it as well. Several tracks, notably the swinging "What Do We Mean to Each Other" and "Straight to My Heart," recall Steel Pulse's heyday in a pleasing way. But the album really hits its peak at the very end, with the spare one-drop groove of "Vibes Up Strong" ...
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White & Blue
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