| | BR6 Gershwin & Jobim: Here To Stay CD BR6 Discography of CDs
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Brazilian vocal sextet BR6 excel at complex arrangements that reveal new subtleties and layers of old songs, and on this novel mix of George Gershwin and Antonio Carlos Jobim tunes (it makes more musical sense than it would seem) their lush harmonies practically reinvent such chestnuts as "Someone To Watch Over Me" and "The Girl From Ipanema."
BR6: Crismarie Hackenberg (mezzo soprano); Marcelo Caldi (tenor); Augusto Ordine, Deco Fiori (baritone); Simo (bass voice); Naife Simoes (unknown instrument).
Global Rhythm (Publication) (p.54) - "[T]he collection jumps off with a blend of 'Rhapsody In Blue' and 'Waters Of March.' From there, we get a selection of tunes that includes a heartfelt rendition of 'Someone To Watch Over Me'..." Gershwin & Jobim: Here To Stay Music BR6 Gershwin & Jobim: Here To Stay Songs Gershwin & Jobim: Here To Stay Music Gershwin & Jobim: Here To Stay Review
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On their eighth studio release, the experimentally inclined jazz-rockers Medeski, Martin, and Wood open up their organ-trio sound in new and unexpected ways. Trading in their earlier, groove-oriented sound for a more eclectic interest in moods and melodies, the group finally dives headlong into the hip-hop and electronica vibe it's been sniffing around at least since 1998's COMBUSTICATION. On tracks like the hypnotic "Retirement Song" or "Pappy Check," the polyrhythmic scratching of guest turntablist DJ Olive isn't employed for sonic color, but as a fully-fledged instrument in the mix.
Keyboardist John Medeski largely steps aside for once, leaving bassist Chris Wood to drive the songs, especially on the funky "The Edge of Night" and the pure hip-hop groove of "First Time, Long Time." Other tracks explore a more noodly, almost ambient feel, especially the closing "Off the Table," which starts with a wild Mellotron solo that sounds like someone spiked Rick Wakeman's curry with acid and ends to a strangely calming loop that sounds like two people playing ping-pong. Guest vocals by Brad Roberts of the Crash Test Dummies and noted southern eccentric Col. Bruce Hampton, as well as two tracks featuring a full horn section, add to the album's appealing sonic variety.
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Perhaps more than any other player, Rahsaan Roland Kirk embodied the entire history of not only jazz but 20th century American music in his playing. No matter which of the many horns he played (more often than not three at once), he would cut through an original composition, something from the current pop repertoire, or a jazz or R&B nugget that hadn't been heard in a while, and open the floodgates, bringing all of the other musics he knew to bear on the present selection. And Kirk was not one for excess; his humor, his fire, and his soulfulness were always displayed with great tenderness and taste. This set, originally issued on Joel Dorn's Night Records label in 1991, features a series of unreleased live performances from the mid-'70s. There are six from the Keystone in San Francisco, one from the Olympia Theater in Paris, and one from the It Club in Los Angeles. Sidemen include future bright lights like pianists Hilton Ruiz and Ron Burton, trombonist Steve Turre, bassist Henry Pearson, and a host of different drummers, including John Goldsmith and Sonny Brown. There are a few percussionists in the mix as well, but not all the personnel are known due to the loose nature of the original recordings, which were made by club owners and never intended for release. Nonetheless, The Man Who Cried Fire is an essential recording by Kirk. Here he uses his multi-instrumental approach more plainly than on any of his studio albums, especially on "Multi-Horn Variations," where he transmutes the blues from Hebrew folk song to gutbucket R&B while playing three different horns that often change melodies and begin to weave into one another! Elsewhere, on the Miles mimic "Bye Bye Blackbird," Kirk cops Miles' muted tone and phrasing with his own horn. The readings of the stomping "Night Train" and "Mr. P.C." are among the most recognizable and memorable in the canon, and "New Orleans Fantasy," a small suite played with a brass band, is too surreal for words. On "You Did It, You Did It," Kirk sings and blows the blues, funky and dirty through his flute, whipping up the entire audience. Simply put, there is no other live album in jazz history that accomplishes what this one does: The Man Who Cried Fire gives a complete and rounded portrait of its speaking subject that will last for ages if Dorn can keep it in print. Just amazing. [This reissue adds one untitled track.] ~ Thom Jurek
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I was raised in Detroit, Michigan, where I was inspired to pursue my entertainment career. I started singing, dancing and writing songs ...
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