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Georgie Fame was firmly enrolled within his pop phase by 1968, and Third Face of Fame did not care who noticed. In fact, it rather hoped that everybody lured into earshot by his recent chart-topping lament for outlaws Bonnie & Clyde (the opening "The Ballad of Bonnie & Clyde," of course), would all come hurtling in. In fact they didn't, and the album marked Fame's first non-charting outing since his debut, five years before -- which means the millions missed out on a handful of cuts that were at least as enjoyable as the hit. A version of the Beatles' "When I'm 64" rivals any other cover of that song, with Fame's treatment truly capturing the foreboding that lurks behind the superficial buoyancy of the lyric, while there's also a heartfelt version of George and Ira Gershwin's "Someone to Watch Over Me." Earlier fans are treated to a powerful visit to "St James Infirmary," which proves that Fame has lost none of his earlier taste for menacing R&B, while the closing romp through Donovan's "Mellow Yellow" is nothing if not, er, mellow. Third Face of Fame can scarcely be recommended to anybody yearning for Fame himself to return to the blues-breaking growl of old. But, as an example of British pop's own longtime fascination with "adult"-sounding entertainment, it's certainly an enjoyable slice of very easy listening. ~ Dave Thompson
Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. Sony. 2007. Georgie Fame Third Face Of Fame Songs Third Face Of Fame Review
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Purchase Third Face Of Fame CD To buy, Click on price to add to cart | Return To Forever Returns - Live At Montreux 2008 DVD (2008) DTS Sound
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"The Chairman of the Board" died in May of 1998, yet his music sounds as vital and relevant today as ever. Released on the 10th anniversary of his death--in coordination with a slew of DVD releases commemorating the singer's acting career as well as an official U.S. Postal Service stamp--NOTHING ...
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It seems incredible that Roberta Gambarini didn't win the Thelonious Monk Jazz Vocal Competition but she was new to the U.S., having just arrived from her native Italy. But with each new release, she has demonstrated that she is easily the most accomplished vocalist of the competitors for the prize. Pianist Hank Jones, who knows a thing or two about great singers, refers to her as the "greatest vocalist to come along in the past ...
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Thomas Jefferson was one of the top New Orleans trumpeters of the 1960s, a lyrical and melodic player who also sang in a style that hinted at Louis Armstrong. Unlike some of the trad dates of the era, his sessions always found the musicians in-tune and featured high musicianship in addition to spirited playing. This set, Dreaming Down the River to New Orleans (from 1962) features Jefferson (who takes four vocals) with three different groups; it is a pity that his name is not listed as leader, for he is the star throughout. Jefferson performs four numbers in a sextet with trombonist Jim Robinson (in peak form), clarinetist Louis Cottrell, pianist Lester Santiago, bassist Jerry Adams, drummer Paul Barbarin, and four others with Barbarin in a group featuring trombonist Frog Joseph and clarinetist Sam Dutrey. Sister Elizabeth Eustis and a choir sing on "Just A Closer Walk With Thee." The remainder of the set has Jefferson in an excellent octet with Joseph and both Cottrell and Raymond Burke on clarinets. Overall, the ensembles are clean but exciting, ...
| | Crusaders Groove Crusade CD (2003)
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Groove Crusade is a smoking little sampling of the Crusaders recordings from 1970-1979. It is a compilation of tunes assembled from the beginning of the period where they dropped the word "Jazz" from the front of their name as a reaction to the harsh words the band received from jazz critics throughout the 1960s. Long before the tracks on this comp appeared, in what are now regarded as legendary live dates recorded at the Lighthouse in California, this West Coast group (by way of Texas, where four of them grew up playing together) called the Jazz Crusaders were instrumental in the creation of what we now call soul-jazz. In the early '60s, the quintet was regarded as a hard bop unit; but that description didn't fit so well because the compositions and arrangements concentrated on what would accent their unique combination of jazz, blues, gospel, and soul. The Crusaders' sound was a deep emotional music that didn't rely so much on player's soloing chops (though all of them are great soloists), but rather on the total feel produced by the group. They were regarded with hostility and/or dismissed by many "important" critics during the decade -- bop and hard bop fans at the time were as conservative, if not more as folk revival "aficionados." The music made by the Crusaders was considered lightweight, even simple (because it communicated so directly to the listening audience. Many of these same, old-guard folks disliked another Texan named Ornette Coleman during the late '50s and early '60s for different reasons.)
The 11 tunes included on Groove Crusade focus on the Crusaders at the peak of their popularity during the '70s. It showcases their deft, sophisticated, and inclusive musical approach as well as their collective creative imagination. Groove Crusade is sequenced by feel, not by chronological order, and it's a stunner from start to finish. The first Crusaders album, 1 netted the band precious radio air play on stations that had previously eluded them; but more than that, it got them air play on burgeoning FM rock & roll and progressive AM soul stations. Pianist Joe Sample's "Put It Where You Want It," and "Don't Let It Get You Down," are excellent examples of a seamless yet down-home slippery, relaxed, emotional kind of jazzy funk. These tracks are the lead-off cuts to 1 and 1971's 2nd Crusade. ...
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