| | Mark Meadows In The Beginning CD Mark Meadows Discography of CDs
The first contemporary jazz release from this 15-year old pianist from Dallas, TX. Listed in "Who's Who in American High Schools." Mark's scholastic and musical talents promise many more releases. In The Beginning Music | List Price | $14.99 (You save $0.20) | | Category | Rock/Pop Albums, Jazz CDs, Alternative | | Label | Bay Sound | | Orig Year | 2004 | | CD Universe Part number | 7279013 | | Discs | 1 | | Release Date | Oct 19, 2004 | | Studio/Live | Studio | | Mono/Stereo | Stereo |
In The Beginning Review
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$14.95 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 what White usually does on Good Day. This 2009 release is, on the whole, an album of pleasant but not very memorable background music; White usually sounds like he ...
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In The Beginning songs
$14.05 In the proto-typical Scandinavian ECM style of modern jazz oriented music, pianist Tord Gustavsen follows the path of previous progenitors influenced by Bill Evans, forged by Keith Jarrett, and extended by the likes of Mike Nock. This is certainly late-night, nocturnal music, completely reserved and relaxing, ultra-melodic, calm, peaceful, and non-threatening. Rarely does a tempo move beyond medium, a dynamic merge above mezzo piano, and any mood goes farther than moderately cool. Well within this consistent timbre, Gustavsen and his trio show a modicum of diversity and influences. Fellow ECM labelmate Bobo Stenson's style and technique is most extant during the lilting "Edges of Happiness," "Twins" is spiritual, calm, and light but not somber, while "Token of Tango" is ...
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$11.15 WHEN I LOOK IN YOUR EYES won the 2000 Grammy Award for Best Jazz Vocal Performance and for Best Engineered Album, Non Classical. WHEN I LOOK IN YOUR EYES was nominated for the 2000 Grammy Award for Album Of The Year.
WHEN I LOOK IN YOUR EYES, a 1999 Verve release, heralds the return of the cool and groovy Latin-tinged jazz of the '60s. Upon hearing the opening track, a bossa-nova-fied version of Irving Berlin's "Let's Face The Music And Dance," one might think he had accidentally put on a Getz/Gilberto record. In fact, it's hard to avoid comparing Krall's breathy alto to that of Astrud Gilberto-particularly on the more samba-flavored numbers.
But Krall ultimately resists comparisons. Her simultaneously textured and smooth tone, warm timbre, and conversational phrasing mark her as unique. The set of standards here, including "Let's Fall In Love," "I've Got You Under ...
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In The Beginning music CDs
$15.59 LIVE AT THE BERKS JAZZ FEST is an Enhanced CD containing a full audio program as well as multimedia computer files and free access to the Internet.
Recorded live at the Berks Jazz Fest in Reading, Pennsylvania on March 17th
One of the best sources for in the pocket smooth jazz recordings since the early '90s, Heads Up's promise of a live date featuring three of its most appealing core artists -- bassist Gerald Veasley, keyboardist Joe McBride, and saxman Kenny Blake -- seems like as sure a bet as the genre can offer. In terms of showcasing the varied strengths of each performer and their adaptability to an ensemble setting, the Heads Up Super Band's Live at the Berks Jazz Fest at Albright College in Reading, PA is a triumph. McBride's forte is playful, uplifting synth melodies and soulful, George Benson-like scat vocals, and he shines on the light funk of "Sweet Street" while Blake matches him note for note. Instrumentally, the band doesn't add too much new to Hall & Oates' gentle '70s hit "Sarah Smile," but McBride takes the opportunity to show his raw vocal power. One of Veasley's specialties is subtly weaving his bass melodically around moody synth atmospheres, and he and Blake do a cat and mouse kind of slow dance on "Night Games." As a leader, Blake specializes in his own brand of sensuous funk, and Veasley gives him a solid, seductive rhythmic foundation to lift a few improvisations off "Dancing at the Pagoda." All of these are mere pleasantries in comparison with the closing tune, a live jam whose combustible spirit shows that these hard workers are about more than radio-friendly jazz. Blake leads his "Mississippi Mudslide" aggressively over Veasley's slappy bass groove and McBride's throbbing Sunday Morning blues-gospel best, ...
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