| | Bill Gilliam Spirit Matter CD Bill Gilliam Discography of CDs
Recorded at Acrobat Music Studios, Ontario, Canada.
Personnel: Will Gilliam (piano); Ernie Tollar (saxophone); Kevin Turcotte (trumpet); Mark Duggan (marimba, percussion); Ben Riley (drums).
Audio Mixer: Jeff Wolpert.
Recording information: Acrobat Music Inc., Pickering, Ontario, Canada.
Arranger: Will Gilliam.
Personnel: Bill Gilliam (piano); Ernie Tollar (saxophone); Kevin Turcotte (trumpet); Mark Duggan (marimba, percussion); Duncan Hopkins (bass); Ben Riley (drums).
Bill Gilliam Spirit Matter Songs Spirit Matter Review
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Purchase Spirit Matter CD To buy, Click on price to add to cart | Brian Culbertson Live From The Inside CDs (2009) With DVD
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Many people think of smooth jazz as something that didn't start until the 1980s, but arguably, smooth jazz started around 1966-1968 with the overtly commercial, pop-drenched albums that guitarist Wes Montgomery recorded during the last few years of his life. Love it or hate it, Montgomery's more commercial output had a major impact on Peter White and many other guitarists who have contributed to smooth jazz (including George Benson, Lee Ritenour, Earl Klugh, Chuck Loeb, and Henry Johnson). Musically, a lot has changed since the '60s, but the more things change in music, the more they inevitably stay the same -- and 2009 found White (like Montgomery 41, 42, and 43 years earlier) still struggling with a desire to improvise and a desire for mass acceptance (the thing that jazz, for the most part, lost after World War II). Of course, one doesn't necessarily rule out the another; the late saxophonist Grover Washington, Jr. knew how to be commercial and adventurous at the same time, but most smooth jazz artists play it way too safe -- which is ...
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The STRING OF PEARLS collection includes some of big-band swing pioneer Glenn Miller's best, including "Tuxedo Junction, "In the Mood," and more, all remastered in 20-bit digital sound.
It says something about the respect with which Glenn Miller is held in Japan that this CD is part of Japanese RCA's Jazz Masters series -- Miller's American label and many CD outlets tend to put him in the "pop instrumental" category. The release itself covers all of the expected bases, 24 hits that have been heard millions of times on the radio and on record since the end of the 1930s. But the Japanese division of RCA (as with most other record labels) sets its own standards and masters CDs its own way -- so the tracks here are brighter and louder than most of their American CD equivalents of the same release period, which can be a strong point in favor of this CD. And one only wishes that String of Pearls were being reviewed closer to its release date, in 2000, because at that time it would have earned even higher praise for its sound quality -- 20-bit digital mastering was the gold standard at the time, and the way the music has been treated here, with the volume pushed as hard as it can be, the results sounded very impressive. But since then, the Japanese division has added K-2 mastering to the equation, which yields much quieter results, even on material originally recorded on lacquer disc; and 24-bit has become the standard, and the producers on subsequent reissues have managed to reduce the noise on these sources even further while getting an even louder, fuller sound. One irony here is that the best sounding master in the bunch is "St. Louis Blues March" by the Glenn Miller ...
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As the title might indicate, this release represents an extension to his previous outing, Boom Bop. Known for his jazz-rock or jazz fusion electric guitar-based stylizations, Jean-Paul Bourelly's Jimi Hendrix influence cannot be understated, hence a notion that is most prominently conveyed on his impressive 1995 Tribute to Jimi CD. But here, the artist is heavily entrenched in super-charged funk, jazz, and worldbeat motifs. Bourelly augments a cornucopia of scathing licks with peppery, funk/jazz/rock-type grooves amid strong support from saxophonist/flutist Henry Threadgill, bassist Reggie Workman, and others. The guitarist dances, darts, and weaves in and out of a set brimming with punchy horn charts, ...
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A collection of exemplary Ellington radio material from three 1941 Hollywood sessions, TAKE THE "A" TRAIN is notable for its inclusion of Ellington's first recording of the title tune, which would become the Duke's signature piece. While familiarity and the passage of time may make it difficult to bring a critical ear to such an enduring piece, the clarity, rhythmic inventiveness and excitement of the arrangement are still undeniable. This disc is also noteworthy because of its 26 tracks, eight were never commercially recorded.
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