| | Four Bags Off Shore CD Four Bags Discography of CDs
Combining the improv and personality of modern jazz and American popular music with the rigor and sophistication of the chamber music tradition, the second release of this quartet (clarinet, accordian, electric guitar, trombone) mixes dense compositions and covers as diverse as XTC and Chopin.
Audio Mixer: Jamie Saft.
Recording information: 39th St. Music, New York, NY (09/26/2002/09/27/2002).
Arranger: Tom Aldrich.
Four Bags: Sean Moran (electric guitar); Tom Aldrich (accordion); Michael McGinnis, Brian Drye.
Personnel: Sean Moran (guitar); Tom Aldrich (accordion); Michael McGinnis (clarinet, saxophone); Brian Drye (trombone).
Four Bags Off Shore Songs Off Shore Review
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Purchase Off Shore CD To buy, Click on price to add to cart | Brian Culbertson Live From The Inside CDs (2009) With DVD
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WHEN I LOOK ...
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While Katia Labeque usually can be found shaking up classical houses with her sister Marielle in piano ...
| | Oliver Lake Have Yourself A Merry Christmas CD (2001)
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| | Beat Kids Open Rhythm System CD (2003)
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| | Complete Motown Singles, Vol. 3: 1963 CDs (2005) Box Set
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Like most independent record moguls of the early '60s, Berry Gordy, Jr. had grand plans but unlike many of his peers, he was more than ready to enact them. Crafting an R&B crossover was part of the plan but he wasn't limited to that: he had other markets in mind, markets that held cash and credit. Gordy tried everything -- folk, country, gospel, jazz, supper club crooning -- seemingly opening up a new subsidiary for every style, very rarely with much success. He dabbled in these digressions earlier in Motown's history but as the five-disc box The Complete Motown Singles, Vol. 3: 1963 shows, 1963 was the year Gordy went berserk with subsidiaries, pursuing Workshop Jazz for jazz and vocal recordings, Mel-O-Dy for folk, country, and comedy, and Divinity for gospel, all of these in addition to the Gordy and Tamla imprints that released R&B just like their flagship Motown. Several of these labels were launched the previous year, but in 1963 they were all going concerns with rarely a month passing without a new 45 from one of these subsidiaries. There were so many in 1963 that it's not surprising they dominate the flavor of this volume of The Complete Motown Singles; even if they produced neither hits nor forgotten gems, there are so many of them they leap out amidst what is the formation of the classic Motown sound.
Which isn't to say that these subsidiaries were bad -- some of them were, but not all of them. Johnny Griffith and George Bohannon served up some strong jazz, Howard Crockett was a good straight-ahead country singer pitched halfway between Johnny Cash and Johnny Horton, but much of this was simply generic, embodying a style without being distinctive. This can result in some fun listening -- depending on taste, either the Kingston Trio harmonies of the Chuck-A-Lucks or Paula Greer's jazzy vocal stylings or Liz Lands' earnest gospel sides are appealing -- but the sheer volume of these stylistic digressions steers 1963 toward the territory of mere pop archaeology. With the sudden changes in mood and preponderance of odd generic material, this box commands attention, and for listeners of a certain stripe, it is certainly compelling, as these non-traditional Motown sides replicate the sound of 1963 outside of the Gordy empire, one where crossover jazz, folk singers, and novelty records took up a significant portion of the charts. It shows that Motown was not immune to chasing trends, which is a minor revelation in itself, but having these here provides a context to ...
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