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Our Price: $13.39  CDFor Sale Usually ships in 1-2 days
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Recording information: Kung Fu Bakery, Portland, OR.
Arrangers: Bobby Torres; Scott Steed; Reinhardt Melz.
Personnel: Barbara Lusch (vocals); Dan Gaynor (piano); Essiet Essiet, Scott Steed, Kevin Deitz (bass instrument); Reinhardt Melz, Reinhardt Melz (drums); Scott Holmes, Kirk Green (background vocals); Bobby Torres (percussion).
Audio Mixer: Dave Friedlander.
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Purchase Barbara Lusch CD To buy, Click on price to add to cart | Dan McMillion Got The Spirit CD (2001)
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Trumpeter Jim Rotondi brings together vibraphonist Joe Locke and pianist Mulgrew Miller for this vibrant Sharp Nine date. Trombonist Steve Davis guests on two tracks and contributes the stately bossa "Evening Shades of Blue." The rhythm is handled by bassist Peter Washington and drummer Joe Farnsworth. Rotondi's horn work, at once elegantly melodic and technically dazzling, provides a sonic centerpiece for the album, although it is the juxtaposition of Locke's vibes and Miller's authoritative piano that gives the music its most unique signature. Locke's own "Last Ditch Wisdom," a fast line that takes its time settling into up-tempo swing, is one of the more surprising tracks. Rotondi weighs in with three originals: the opening "Designated Hitter," a bright modified blues; "Miller Time," a loping hard bop vehicle written in honor of the session's pianist; and the waltz "Reverence," a similar version of which served as the title track of a Criss Cross CD by Rotondi from around the same time. The non-original picks are inspired ones: Benny Golson's ballad "Park Avenue Petite," Herbie Hancock's seldom-played "Yams," and a snappy, ...
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ETTA JONES SINGS LADY DAY was nominated for the 2003 Grammy Awards for Best Jazz Vocal Album.
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For part two of Michael Musillami's series of Playscape recordings, the guitarist's quintet becomes a sextet with the addition of trumpeter Randy Brecker. Pianist Kent Hewitt, drummer Steve Johns, and the late altoist Thomas Chapin all remain, while bassist Nat Reeves is replaced by Ray Drummond. The addition of trumpet allows Musillami to create arrangements of greater depth and complexity, most notably on the quick 3/4 tune "Shoeshine," which stretches to nearly 12 minutes. This remarkable piece begins with Musillami playing deft, swinging lines, backed only by Johns on brushes. Drummond then enters to set up a vamp, which introduces a marvelously intricate three-part melody involving Brecker on muted trumpet, Chapin on flute, and Musillami on guitar. From an orchestrational standpoint, this is a good deal more advanced than what one hears on Musillami's previous outing, Archives. There are similar nuances on the opening track, "GlassArt," where Musillami deploys the three melody instruments in such a way as to simulate sectional writing. "Cousin Jim" also finds Musillami reaching new heights of originality and surprise. Beginning as a ballad, the tune abruptly switches to a brisk 6/8 tempo and remains there throughout. It's a simple idea -- the best usually are -- yet one that elevates the piece quite far above the ordinary. The theme, lyrical and yet staggeringly complex, is undoubtedly some of Musillami's finest writing to date. The other tunes feature great playing but don't quite rise to the same level as compositions. There's the breezy Latin piece "Mar's Bars"; a fast modal tune called "Out of Balance," which features an especially hot Brecker solo; "The Haberdasher Blues," a quirky 12-bar tune with cooking solos by Musillami and Chapin; an affecting ballad titled "I Wait for the Summertime"; and the up-tempo finale "Grey Cypress," with Chapin and Musillami darting through the changes ferociously. Brecker is absent from quite a few of the tracks, but Chapin's alto and flute work is ever-present and characteristically superb. The rhythm section is in top form, with Kent Hewitt contributing a number of fine solos (especially on "Cousin Jim"), and Drummond and Johns driving the whole band expertly. Mar's Bars doesn't sustain the kind of interest generated by its three best tracks but, on the whole, the album represents a big creative step forward for Michael Musillami. ~ David R. Adler
Guitarist Michael Musillami has a fuzztone/rock approach which might lead ...
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Dungen is largely the brainchild of Swedish studio rat and multi instrumentalist Gustav Ejestes, who has used his finely honed producer's acumen and unerring nose for vintage sounds to create some of the most compelling rock albums to emerge from Europe in the 21st century. Since first gaining the attention with the multi-hued but hard nosed psychedelic rock of 2004's TA DET LUNGT, Ejestes has been painstakingly refining Dungen's sound, and opening the group to the contributions of other notable musicians.
The ...
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