| | Sapphron Obois Removing The Veil CD Sapphron Obois Discography of CDs
Removing The Veil Music | List Price | $12.97 (You save $3.12) | | Category | Jazz Albums | | Label | CD Baby | | CD Universe Part number | 7679364 | | Catalog number | 188787 | | Discs | 1 | | Release Date | Mar 25, 2008 |
Sapphron Obois Removing The Veil Songs | 1. | Manzanita |
| 2. | Shakti's Dance |
| 3. | Removing the Veil |
| 4. | Nairobi Night |
| 5. | Turbo Camel |
| 6. | Either OR |
| 7. | Always With You |
| 8. | El Hombre Grande |
| 9. | No Sleep |
| 10. | Sahara |
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Removing The Veil Review
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Purchase Removing The Veil CD To buy, Click on price to add to cart | Beegie Adair Jazz Piano Christmas CD (1999)
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| | Tord Gustavsen Changing Places CD (2003)
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This release signals in the then 33-year old, Norwegian pianist Tord Gustavsen's debut outing for the ECM Records label. His fellow compatriots, bassist Harald Johnsen and drummer Jarle Vespestad, round out this jazz piano trio offering. Fundamentally speaking, the group seemingly works its palate into that classic "ECM Records" aesthetic, comprising echo-laden sonic characteristics and a chamber-esque vibe. Otherwise, Gustavsen demonstrates meticulously construed faculties via a tasteful approach, ringing up notions of the late Bill Evans, amid a conservatory-type demeanor. To that end, the pianist shines forth ...
| | Donny Hathaway Collection CD (1990)
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| | Peter White Glow CD (2001)
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This is a multi-channel Super Audio CD playable only on Super Audio CD players.
More than most jazz lite artists, Peter White flaunts a restless improvisational sense, which is fully evident on Glow. Aside from a few incidental fills tossed into the breeze by this or that horn player, this is entirely White's show. His performance on all these tracks, typically over a backdrop of gauzy major-seventh string pads, provides a lesson in long-form jamming against a steady, sensuous backbeat, with octave passages and a buoyant rhythm feel that echo Wes Montgomery. Despite these similarities, White displays a distinctive sound, with blues and Spanish influences perfuming his romantic phrases. The original material is unmemorable, and even such familiar titles as "Just My Imagination" and "Who's That Lady" stretch into one- or two-chord vamps that serve as broad thoroughfares for his solos; without having to twist through a maze of chord changes, White can kick back, close his eyes, and let long, liquid lines flow. This is, of course, a pretty standard ...
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| | Anthony Evans Bridge CD (2008)
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After a couple of warmly received projects aimed squarely at the CCM market, Christian crooner Anthony Evans jumped on the worship bandwagon with The Bridge, his first EMI Gospel outing. The album title is curious, suggesting perhaps his jump from a Christian pop label to a gospel one, but as Evans explains in the liner notes, it goes a little deeper than that: worship as a tool in the here and now -- a conduit to hold us over as we make it from this life to the next. But that's just creative nomenclature. Musically, there's hardly anything on The Bridge that suggests such transcendence. At its core, the album is merely a collection of some of the most popular praise choruses of the past decade, like Matt Redman's "Blessed Be Your Name," Tim Hughes' "Here I Am to Worship," and Chris Tomlin's "How Great Is Our God." Evans covers them by the book -- outside of his soulful ...
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| | Les Primitifs Du Futur Tribal Musette CD (2008)
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Les Primitifs du Futur may be the most exponentially multicultural band ever conceived and organized. Led by acoustic guitarist Dominique Cravic, the group combines, blends, and jostles jazz, Latin music, and Balkan, French, Slavic, and Middle Eastern and beyond sounds in celebratory, playful, and deviously romantic ways. While some of the pieces are better defined and centered in ethnic or folk fusion, the band tends to be, literally, all over the map. Where should one start? How about at the opening track with the breezy Asian, East Indian, and Gypsy amalgam of "La Valse Hindoue"; the accordion, darbouka, baritone sax, and xylophone-fired Mediterranean dance "Je Cherche Après Titine"; or a feature for the legendary Flaco Jiménez in a funky Tex-Mex/Gypsy mode accented by a singing saw and marimba in "Los Anges de San Antonio." Adopting the stance of a somewhat campy Slavic oom-pah-pah marching band during "Syldave Ou Bordure?," Hot Club of France vintage jazz with spoken words and violin similar to the standard "Beautiful Love" for "La Dernière Rumba de Django," or the Viennese waltz accordion and Japanese koto-fed, gospel choir blues-infused "Nous Sommes Seul(e)s" -- well, you get the picture. There are several sweet Edith Piaf-style French pop tunes, the Farfisa organ leading "Sur le Toit/Ramona" with Olivia Ruiz singing beautifully, and Claire Elziere as the star chanteuse of "Ton Manteau Gris." The other jazz tunes are a nutty, hilarious throwback, so-called "spooky scat" on the fun and playful multi-voiced "Ménage à Trois" and a superb intro by bassist Jean-Philippe Viret on the hip swinging waltz "Mingus Viseur" in tribute ...
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The Del Fuegos were kicking around Boston for a few years before they signed to the big L.A.-based indie, Slash Records, and released THE LONGEST DAY in late 1984. It finds the band confident in their sound: a back-to-basics, sporadically ragged, no-frills rock sound, with leader Dan ...
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