| | Jazz Funk CD
Jazz Funk Music | Category | Rock/Pop Albums, Jazz CDs, Jazz Instrument, Jazz Collections, Oldies Collections, Box Sets | | Label | Mastercuts | | Orig Year | 2007 | | All Time Sales Rank |  180911  | | CD Universe Part number | 7419523 | | Discs | 3 | | Release Date | Jun 05, 2007 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Fat Freddie; Met Orch; Benny Toms; Soul T.; Philly Allstars; Romario; Elington Johns; Oscar K.; Oil C.J.; Herb Meter; Bev Santrac; C. Veal; Jay Beckenstein; Jaco Pastorius; Tito; Al P.; Maurice White; The Brothers; Al DiMeola; Stanley Clarke; Harvey Mason; G. Love; Joe Zawinul; Billy; Super Funk; Wayne Shorter; Ken Scott; Chi | | Recording Time | 155 minutes | | Additional Info | Boxed Set |
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Purchase Jazz Funk CD To buy, Click on price to add to cart | Will Downing Classique CD (2009)
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The title of Will Downing's 2009 effort, CLASSIQUE, produced by the artist and Rex Rideout, may be a bit misleading: it is not a compilation but a brand-spanking new collection of contemporary jazz-inflected R&B--in other words, classic Downing. The album's first single, "Something Special"--with its hand drums, loops, and slippery flute flitting around a well-placed, subtle horn section--is at its core a popping midtempo love song. Elsewhere, his cover of Barry White's "I'm Gonna Love You Just a Little Bit More Baby" reveals just how deep the master's influence is on Downing. He may not have the full depth of White's baritone, but he gets close, and his expressiveness and emotional connection to the song ...
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With his eighth album, jazz bassist Wayman Tisdale bounces back (from a bout with bone cancer) with an upbeat, genial, somewhat vocals-oriented set. Tisdale still plucks his electric bass a-plenty and there's an abundance of mellow, easygoing jazz here, but he makes room for some notable guest singers as well. Country music star Toby Keith essays Barry White's classic "Never Give You Up," and the Gap Band's Robert Wilson, ...
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Big-toned tenor saxophonist Joe Lovano is a truly unpredictable talent, constantly pushing into new directions and contexts for ...
| | Charles Mingus Mingus Mingus Mingus Mingus Mingus CD (1963)
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For bassist/composer Charles Mingus, many of the leading edge trends of the late '50s-early '60s did not significantly alter his musical outlook--an outlook he had been nurturing since the 1940s when he first made his mark as Baron Mingus. "Mingus, The Composer" was Charlie Parker's affectionate commission for the Californian bassist, who first made waves with "Mingus Fingers" for Lionel Hampton's big band in 1948. As a result, when Miles came along with fresh notions of modality, Mingus could point to his own decade-long work with pedal point. Likewise, when Ornette Coleman introduced his free form, non-chordal approach to blues and modern jazz, Mingus responded with his legendary Booker Ervin/Eric Dolphy/Ted Curson/Dannie Richmond ensemble (MINGUS AT ANTIBES), extending on ideas he'd been developing for years ("Pithecanthropus Erectus").
Part of what makes MINGUS MINGUS MINGUS MINGUS MINGUS such a rich, enduring, listening experience is in the way it delineates the major themes and streams in Mingus' writing, and all of his idiomatic gestures and tonal colors. The rough-hewn polyphony of "II B.S." (a kissing cousin of "Haitian Fight Song") is driven along by the composer's indomitable, thrusting bass line, reflecting the experience of early New Orleans ensembles. Multiple voices syncopate to create a rich melodic fabric and ferocious rhythmic intensity, spotlighting the sanctified tenor voice of Booker Ervin. On his own "I X Love" and a brilliant cover of Ellington's "Mood Indigo," Mingus displays a genius for film noir textures and elaborate timbral contrasts worthy of the Duke.
"Celia" also begins with Ellingtonian plumage, but in its use of contrasting tempos and wildly divergent reed and brass voicings (from tuba and baritone sax on up to flutes and oboes) Mingus zeroes in on his own particular brand of emotional turbulence. In a corresponding mode, there's his rocking arrangement of "Better Get Hit In Yo' Soul," with its fleet 6/8 pulse, old time hosannas and the roaring commentary of an unruly congregation. Equally famous is Mingus' tender portrayal of Lester Young on "Goodbye Porkpie Hat," with its piping reeds, moaning brass and signature Ervin solo. Mingus announces "Hora Decubitus" with some resounding double-stops, before launching into a fierce display of swing and ensemble interplay, culminating in some Eric Dolphy ...
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