| | 97th & Columbus CD Doc Powell Discography of CDs
(1 Customer Review)
This is a Hybrid Super Audio CD playable on both regular and Super Audio CD players.
The veteran R&B/smooth jazz guitarist's Heads Up debut once again captures the always engaging, melodic, and easy grooving magic that has defined his career. This time, rather than simply gather a bunch of likeable tunes to show off his electric and acoustic versatility, he's in a tribute mode. 97th & Columbus is the address of the Manhattan nightclub Mikell's, which was a traditional and contemporary jazz hothouse during Powell's early- and mid-'80s developmental days. Hot new acts were often discovered there, and everyone from John Scofield to George Benson dropped by to jam or watch. Powell celebrates the club's sense of history and shedding with odes both direct and not so obvious. He pays homage to Benson with a faithful and slick run on "Breezin'"; tackles the Ramsey Lewis chestnut (co-written by Maurice White) "Sun Goddess" with a snappy playfulness on electric classical guitar (backed by George Duke on Rhodes and Marcus Miller's subdued electric bass); and draws from his church background for a lighthearted, sometimes dreamy take on "What's Going On" (with longtime associate Luther Vandross on vocals). The best originals are the Latin-tinged "The Flavour," on which Powell begins lines with electric and completes them on acoustic; the silky title track; and the beautiful and heartfelt reflection, "Ode to Chet." Powell and some of the biggest names in soul and jazz move effortlessly from easy ballads to more funky exercises which combine to capture the youthful spirit that defined Powell when he was coming up two decades before this album was released. ~ Jonathan Widran
Recorded at The Studio, Pasadena, California and Front Page Studios, Glendale, California.
Personnel: Doc Powell (arranger, acoustic & electric guitars, keyboards, synthesizer); Bennie Maupin (soprano saxophone, bass clarinet); Ron Brown (saxophone); Patrice Rushen (piano); Bobby Sparks (Fender Rhodes piano, synthesizer); Thomas McMoran, George Duke, Reggie Royal, Tim Carmen (Fender Rhodes piano); Shaun Martin (string synthesizer); Marcus Miller, Sekou Bunch, Dwayne Smith, Keith Taylor (electric bass); Harvey Mason, Lavalle Bell, Land Richard (drums); Erik Zobler (percussion); Terry Baker (programming); Carolyn White, Luther Vandross, Sandy St. James, Daryl Phinessee, Alex Brown (background vocals).JazzTimes (05/03, p.145) - "...It's a charming performance..." **Super Audio CD (SACD) Hybrid** This CD will play in standard CD players. A Super Audio CD player is required to take advantage of the SACD sound technology. 97th & Columbus Music | List Price | $18.98 (You save $2.93) | | Category | Rock/Pop Albums, Classical CDs, R&B, Jazz Instrument, Smooth, Jazz, Enhanced CD, Super Audio | | Label | Heads Up | | Orig Year | 2003 | | All Time Sales Rank | 5155  | | CD Universe Part number | 5856771 | | Catalog number | 9073 | | Discs | 1 | | Release Date | May 27, 2003 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Doc Powell; Erik Zobler | | Engineer | Doc Powell; Erik Zobler | | Personnel | Terry Baker - programming Bobby Sparks - Fender Rhodes piano, synthesizer Doc Powell - arranger, acoustic & electric guitars, keyboards, synthesizer Keith Taylor - electric bass Ron Brown - saxophone Shaun Martin - string synthesizer Sekou Bunch Tim Carmen - Fender Rhodes piano Dwayne Smith Erik Zobler - percussion
List all 22 contributors
| | Additional Info | SACD Hybrid |
97th & Columbus Songs | 1. | Flavour, The | |
| 2. | Breezin | |
| 3. | 97th and Columbus | |
| 4. | Two Hearts | $0.99 | |
| 5. | Sun Goddess | $0.99 | |
| 6. | Thank You | $0.99 | |
| 7. | Let's Jam | $0.99 | |
| 8. | Ode to Chet | $0.99 | |
| 9. | Upward Bound | $0.99 | |
| 10. | What's Going On | $0.99 | |
| 97th & Columbus Music Review Purchase 97th & Columbus CD To buy, Click on price to add to cart | Michael Lington Everything Must Change CD (2002)
97th & Columbus album
$12.49 Some bop snobs would have listeners believe that smooth jazz is inherently evil because it is designed to attract R&B and pop audiences -- that commercialism is a place where only infidels, heretics, and blasphemers dwell. But truth be told, smooth jazz is what the artist chooses to make it; some pop-friendly jazz (Grover Washington, Jr., David Sanborn, Pat Metheny) has been quite creative. Unfortunately, a lot of radio-oriented smooth jazz tends to be contrived and formulaic, and more often than not, Michael Lington's Everything Must ...
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