| | Kenny G G Force CD - Import Kenny G Discography of CDs
 (1 Customer Review)
Kenny G's seond album, 1983's G FORCE, refines the pop-oriented smooth jazz sound the saxophonist debuted with 1982's KENNY G, and includes "Tribeca" and "Sunset At Noon."
Kenny G's work can be divided into three main categories: first, his improvisatory fusion efforts as a Jeff Lorber sideman in the late '70s; second, his R&B-oriented albums of 1982-1985; and third, the elevator Muzak he has specialized in since 1986. Falling into the second category, G Force is a fairly decent urban contemporary release that clearly benefits from the input of Kashif (who serves as executive producer). Kashif was hot at the time, and the R&B singer/producer/songwriter had been burning up the charts with hits by Evelyn "Champagne" King, George Benson, Howard Johnson and himself. Kashif's stamp is all over this sleek album; you can hear it on both the tunes with R&B vocals ("Hi, How Ya Doin'" and "Do Me Right") and groove-oriented instrumentals like "I've Been Missin' You" and "I Wanna Be Yours." G Force, Kenny G's second album, is a long way from the adventurous fusion Kenny G had recorded with Lorber, and the sax solos he was taking in 1983 were hardly breathtaking. But thanks to Kashif's participation, G Force is an enjoyable, R&B-oriented date and is probably the best album he did as a leader (which isn't saying a lot, considering how boring most of his subsequent projects would be). ~ Alex Henderson
Japan exclusive 24-bit remastered reissue of the jazz-pop star's 1983 album. Arista. 2004.
Japanese remaster.
Recorded at Celestial Sounds Studios, New York, New York.
Personnel: Kenny G (vocals, flute, saxophone, synthesizer, percussion); Barry Johnson (vocals); Steve Horton, Marlon McClain, Ira Seigal (guitar); Kashif (keyboards, Synclavier, synthesizer, bass, percussion); Jeff Lorber, Barry Eastman, Paul Lawrence Jones III (keyboards); Peter Scherer (Synclavier); Wayne Braithwaite (synthesizer, bass, percussion); Omar Hakim, Leslie Ming, Yogi Horton (drums); Bashiri Johnson, Steve Kroon (percussion); Lillo Thomas, B.J. Nelson, Steve Horton, La La, Yolanda Lee, Freddie Jackson, Jan And Angie background vocals).
Kenny G G Force Songs | 1. | Hi How Ya Doin? |
| 2. | I've Been Missin' You |
| 3. | Tribeca |
| 4. | G Force |
| 5. | Do Me Right |
| 6. | I Wanna Be Yours |
| 7. | Sunset at Noon |
| 8. | Help Yourself to My Love |
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Purchase G Force CD To buy, Click on price to add to cart | Egberto Gismonti: Saudacoes CDs (2009)
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Photographer: Milton Montenegro.
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes ...
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This double-CD set is not only the best of Bill Chase's output but -- comprising all three of their albums -- virtually their complete finished studio work, before the plane crash that killed Chase and much of the group. The mastering on this Wounded Bird reissue is excellent, with a full solid bass sound topped by soaring highs on the brass and no compression to speak of. It's not as though this catalog has been overused, in terms of its master tape library -- apart from the hit "Get It On" -- but it's still good to know that the stuff has been well handled in terms of being digitalized. Additionally, the producers have reprinted Nat Hentoff's original essay about the group from their first album (and oh, for a time when college audiences could resonate to the writings of someone like Hentoff, who is now as much of a legend as a writer as the jazz ...
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| | Public Good No 1 CD (2009)
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No. 1 is the highly anticipated debut album from Washington DC's The Public Good. Produced by Brian Paulson (Beck, Wilco, Archers of Loaf), No. 1 gives melodic voice to the American underdog and proves that you don't need gimmicks to make tuneful, inventive rock and roll.The Public Good is led by songwriters John Elderkin and Steve Ruppenthal, who were also the nucleus of North Carolina’s now legendary The Popes. One of the most acclaimed bands to emerge from the early 90s Chapel Hill music scene, The Popes’ first release, “Hi We’re The Popes,” received national airplay on college radio stations and made a splash on the College Music Journal charts, landing a spot higher on the new releases to watch poll than REM’s release at the time. Billboard , Cashbox, SPIN Magazine and others gushed about the record and the band.As The Popes, Elderkin and Ruppenthal went on to write songs for independent releases such as the cassette-only “Afar” and WXYC’s collection “DemoListen,” and compilation records such as Mammoth Records’ "Frequency." The Popes also contributed to the internationally released tribute to Alex Chilton, “Not the Singer But the Songs" on Munster Records.What has always separated Elderkin and Ruppenthal’s songs from the pack is their ability to rock the house in their own style while singing with humor, originality, and empathy about the foibles and pleasures of everyday life. When one of their songs cranks up, you know it’s them right away.After a failed record deal with First Warning Records, a verbal dispute with Yellow Card Music, and a highly-publicized pugilistic extravaganza with the underground Ejection label, The Popes split up. Elderkin spent time in Central Asia working on an anthropological study of emerging rock music in remote locations, but was soon extradited to Ruppenthal’s new hometown, Atlanta, GA. The two played together again first as muscular pop group Stumble and then as the hard rocking Lovely Lads (no, not these guys). The Lads released two acclaimed CDs on Put It On A Cracker Records, first “The Lovely Lads v. The World” and then “Lucky Jim.”Another break in the music followed as Ruppenthal, a munitions and weapons specialist, was called back to active duty as the world turned dangerous. Having returned from that explosive experience ready to rock, he and Elderkin are laser-focused and, as longtime listeners have noted, writing the best songs of their career. The Public Good, which includes the crazy-talented, multi-instrumentalist Sam Esquith and drummer/producer extraordinaire Chris Garges, has a new CD, “The Public Good #1” to be released in mid ...
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