| | David "Fathead" Newman / Dr Lonnie Smith Boogaloo To Beck: A Tribute CD David "Fathead" Newman / Dr Lonnie Smith Discography of CDs
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On this unusual set, organist Dr. Lonnie Smith, with guitarist Doug Munro, and (on five of the 11 selections) tenor-saxophonist David "Fathead" Newman do the improbable. On Boogaloo to Beck: A Tribute, Smith takes a full set of songs by rock performer Beck and turns them into funky soul-jazz. In fact, the results often sound like a late-1960s Blue Note album. The individual selections are not all that memorable or inspiring (it is doubtful that any of these Beck tunes will catch on in jazz), but Smith and his bandmates play quite well and deserve credit for trying to come up with fresh material for their grooves. ~ Scott Yanow
Recorded at ACME Recording Studios, Mamaroneck, New York. Includes liner notes by Dean Brierly.
Full performer name: Dr. Lonnie Smith/David "Fathead" Newman.
Personnel: Dr. Lonnie Smith (Hammond organ); David "Fathead" Newman (tenor saxophone); Doug Munro (guitar); Lafrae Sci (drums).
Personnel: Doug Munro (guitar); David "Fathead" Newman (tenor saxophone).
Audio Mixer: Peter Denenberg.
Recording information: Acme Studios, Mamaroneck, NY.
Arranger: Doug Munro.CMJ (5/19/03, p.31) - "...There's a long history of B3 bands revamping pop songs, and Smith's trio and Newman add to the tradition by stripping these songs down to the melody and building them back up with funky grooves..." Boogaloo To Beck: A Tribute Music | List Price | $11.98 (You save $2.43) | | Category | Rock/Pop Albums, Rock CDs, Jazz, Jazz Instrument, Alternative, Tributes, Soul Jazz | | Label | Scufflin' | | Orig Year | 2003 | | All Time Sales Rank |  36382  | | CD Universe Part number | 5860569 | | Catalog number | 8481 | | Discs | 1 | | Release Date | May 20, 2003 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Doug Munro | | Engineer | Michael Messier | | Personnel | David "Fathead" Newman, Dr. Lonnie Smith, Doug Munro, Lafrae Sci |
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Jim Carlton, Just Jazz Guitar (Review of Two's Company Three's A Crowd)This CD, he features two of his favorites, both splendid talents, Homei Matsumoto and Hiroshi Tanaka. They’re sophisticated and inventive soloists, and either would be an asset to any first-rate jazz group. And I’m sure Chako is thrilled to be working with such superb talent. But then, there’s the issue of keeping a bass line moving, something no doubt endemic to American musicians. Chako is really earning his money because, when he’s not soloing, he’s not laying out. Sure, both pianists get a left hand line going, but it’s without the authority in timbre or resonance that a bass line on a guitar produces, much less a bass fiddle.  When Chako solos, his lines are original and imaginative, with a crisp attack, but mostly a big, warm tone. Any jazz guitar enthusiast should have Greg Chako on radar. He has a cool situation in the Far East where he’s found some extraordinary piano players. But he’s worthy of any jazz group anywhere and has something that’s often elusive among guitarists: a style! More power to him.Scott Yanow, LA Jazz Scene (Review of Two's Company, Three's A Crowd)Although he was born in Cincinnati, Greg Chako has spent quite a few years living in Asia including Hong Kong, Singapore and more recently Japan. Otherwise he would be better known in the United States for he is a first-class straightahead jazz guitarist with an attractive sound and a swinging style. On Two's Company, Chako performs four duets with pianist Hiroshi Tanaka, five with pianist Homei Matsumoto and seven with Andrea Hopkins, a fine singer from Atlanta. The lack of a string bassist is not really felt for Chako, when he is not soloing and challenging the other musicians, often provides bass lines. Both Tanaka and Matsumoto are fine two-handed pianists so there is never a time when the music sounds incomplete. The 16 selections are all veteran standards with the highpoints including "The Days Of Wine And Roses," "Almost Like Being In Love," "Autumn Leaves" and "Take The "A" Train." The songs are well served by the musicians, the results sound fresh, relevant and lively. Lorelei Clarke, Jazzreview ...
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