| | Ohio Players Original Artist Hit List CD Ohio Players Discography of CDs
(1 Customer Review)
Although it doesn't say so on the outside packaging, Original Artist Hit List is a live performance from the Ohio Players that was recorded in 1995, with the group rolling through most of its biggest hits, including "Skin Tight," "I Want to Be Free," "Love Rollercoaster," "Fire," and "Sweet Sticky Thing." ~ Andy Kellman
Although it doesn't say so on the outside packaging, Original Artist Hit List is a live performance from the Ohio Players that was recorded in 1995. The Intersound label makes no effort to inform the consumer of what he or she is getting into, which is pretty deplorable. It also makes the band look bad, and they likely had nothing to do with the presentation. They roll through most of their biggest hits, including "Skin Tight," "I Want to Be Free," "Love Rollercoaster," "Fire," and "Sweet Sticky Thing." Only the most devout fans will have any need for it, but they're likely to look at the disc and assume it's a budget compilation of studio recordings. So, in other words, nobody wins. ~ Andy Kellman
Audio Remasterer: Glenn Meadows.
Recording information: Fox Theatre, Atlanta, GA (12/02/1995).
Personnel: Clarence Willis, Leroy "Sugarfoot" Bonner (vocals, guitar); Odeen Mays (vocals, keyboards); James "Diamond" Williams (vocals, drums, percussion); Darwin Dortch (vocals); Stutz Wimmer, Sam Skelton (saxophone); Arno Hect (tenor saxophone); Mike Barry , Laurence Etkin (trumpet); Eric Alexander , Bob Funk (trombone); Robert Lorenzo Jones (percussion).
Audio Mixer: Z. Jimmy.
10 Hits
Original Artist Hit List Music | Category | Rock/Pop Albums, Soul/R&B CDs, Urban Soundtrack, Live Performances, Funk, R&B, Enhanced CD | | Label | Intersound | | Orig Year | 2003 | | All Time Sales Rank | 155749  | | CD Universe Part number | 5652903 | | Catalog number | 4818 | | Discs | 1 | | Release Date | Feb 18, 2003 | | Studio/Live | Live | | Mono/Stereo | Stereo | | Producer | Shawn Salter; Alan Queen; James "Diamond" Williams; Leon "Sugarfoot" Bonner; Phillip White; Trammell Starks Jazz Quintet | | Engineer | Joe Neil | | Personnel | Eric Alexander Leroy "Sugarfoot" Bonner - vocals, guitar Bob Funk - trombone Jimmy "Diamond" Williams - vocals, drums, percussion Laurence Etkin - trumpet Robert Lorenzo Jones - percussion Mike Barry Sam Skelton - saxophone Arno Hect - tenor saxophone Clarence "Chet" Willis Darwin Dortch - vocals Stutz Wimmer
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$14.35 Phil Woods, the great American saxophonist, has been featured in more diverse settings than almost anyone in the history of the music. His constant challenging of himself as a player, bandleader, and composer has been admirable since his debut set as a leader. While standards sets these days are not only a dime a dozen but mostly cop-outs from established artists and newcomers who either lost or never had the chops to execute them with any aesthetic imprint, let alone the one they deserve, septuagenarian Woods breathes life into ten of these tunes, and reinvents them both as harmonic structures and as tools for swing. With trumpeter Brian Lynch, pianist Bill Charlap (a fine leader in his own right), bassist Steve Gilmore, and Billy Goodwin on drums, Woods takes on "Foggy Day" as if it were a new tune. The same goes for the age-old jazz ballad of choice "All the Things You Are," on which Charlap sets the course for a wondrous take with the ensemble playing together as if they co-wrote the tune. Lynch's muted trumpet is a natural choice, but Charlap's extrapolation on the chord voicings and Woods playing the middle-low register of his horn and easing out with a sense of phrasing akin to Paul Desmond's. The front-line interplay on "I've Got You Under My Skin," is simply gorgeous, especially when Woods takes his second solo break and Lynch slips back in behind the beat. One can hear the entire history of the alto as a solo instrument in this tune. And if you are about to groan at seeing the nugget "Summertime" in this set, just take a listen to the Latin backbeat that this tune builds on, where blues, son and samba all meet, and Woods' clarinet playing when juxtaposed against Lynch's mute is simply out of this world. One wonders how anyone ever played it differently. The joint closes with "Right as the Rain," a near pastoral tune, except the shimmering horn interplay brings it right down into the blues again. The fills Charlap plays around the front line are simple, elegant, spare, and attention grabbing. This is one for the summer of 2006, and offers a fine view of what Woods and his crew are capable of when faced with the daunting task of reinventing standards. ~ Thom Jurek
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