Showing posts with label jazz fusion. Show all posts
Showing posts with label jazz fusion. Show all posts

Full Moon Review

Full Moon
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Full Moon ReviewThe group "Full Moon" represented one of the first attempts at fusing jazz, blues, and rock in the very early 1970's. The group's members consisted of some surivivors of the 60's, mainly from the Paul Butterfield Blues Band. Buzzy Feiten, a guitar legend at age 18 played lead guitar for Butterfield from 69-71, and then went on to record two albums with Stevie Wonder, and even toured with Stevie Wonder in the Rolling Stones tour of 1972. Phil Wilson was the original drummer for Butterfield, and wanted to write songs and do something other than blues. "Brother" Gene Dinwiddie was a consumate and perfectionist sax player who also wanted to write songs. Freddie Beckmeyer on drums, and a young Neil Larsen on keyboards rounded out the group. Neil Larsen was a keyboardist with no bounds, and a favorite of jazz producer Tommy LiPuma.
The group had one short year together, not a single hit, and that fact alone makes this 36 year old CD amazing. People loved the songs and the sound. The fact that the group was a "no hit wonder" speaks volumes what a word of mouth this album was. Thankfully, the Japanese appreciated the music and have brought you this CD.
The CD opens up with "The Heavy's Scuffle's On" a soulish track of Brother Gene and Phil Wilson; then moves on to "To Know" a tender ballad written by Buzzy Feiten; next is "Malibu" a classic instrumental from Neil Larsen, that evokes the quiet surf of Malibu, California; next is "Take This Winter Out of My Mind", a soulish Wilson and Dinwiddie track; then moves on to "Midnight Pass" another Neil Larsen instrumental about a street from his home town--Tampa Florida; next is "Need Your Love" an exciting fusion track of jazz, pop and rock that is sure to please; finally the CD ends as the album did with "Selfish People" a soulish Dinwiddie Wilson track.
Buzzy Feiten went on to tour with the "Larsen Feiten Band" and his own group, invented a guitar tuning device and lives in Los Angeles, and hasn't toured in quite a while. Neil Larsen had a moderately successful touring stint and several solo albums as well as a highly demanded studio musician. Brother Gene died in Pomona, California in the 90's. I have lost track of Phil Wilson and Freddie.
But the music of "Full Moon" remains alive in the form of this CD. Buy it.
I can not recommend this CD enough.Full Moon Overview

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Way Back Home Review

Way Back Home
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Way Back Home ReviewOK, I know Box Sets are expensive, and you want to know you are getting your money's worth. No worry here! If you like "The Crusaders", jazz, jazz-funk, or just good music (Duke Ellington said there are only two kinds of music - good and bad!), this is an AWESOME 4 disc set of great music. Just put all four discs in your changer and groove for hours! You won't hit the skip button on a single song. This group was the epitome of jazz-funk of the 60's and 70's. I cannot say enough about this set. It was the best music dollars I have ever spent.Way Back Home Overview

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Return of the Brecker Brothers Review

Return of the Brecker Brothers
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Return of the Brecker Brothers ReviewThe first time I heard this album I wasn't so impressed, and put it aside. Now, several years later, I'm just listening to it, and can't understand why didn't I perceived all the beauty it has! It's amazing! very creative, and it's fun to listen to.
You must have it!
Dihelson Mendonça
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Live Wires Review

Live Wires
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Live Wires ReviewWynton Marsalis, Marcus Roberts and God knows who all else, that's who. Look, if you take the purist schtick the whole nine yards, only Dixieland is true jazz. Which makes most of Marsalis' and Roberts' own material heresy of a sort. Back in the late '70s, rock'n'roll went through the same sort of lame-assed febrile episode ramrodded by the punk movement, and as such, it's only recently beginning to recover from a rather ugly sort of fascism that all but destroyed its entertainment value. Despite the putdown labels "smooth jazz" and "jazz lite" for groups like the Yellowjackets, this band delivers eminently listenable material, and this is a good place to start. Songs like the bouncy woodwind synth/ digital piano-driven "Bright Lights", which proves during the jam section that a bass part that does a staggered downbeat on the same note can still keep ya movin' (bassist Jimmy Haslip doesn't have to drown you in notes to show he's one of the best in the business). Or "The Dream", with Michael Franks on guest vocals (he took their instrumental "Local Hero" and put words to it). Or the African-influenced "Wild Life", which was the very first 'Jackets number I ever heard--it had me thinking they were a World Music outfit. Or the gospel number "Revelation", which is just as hand-clappin' and foot-stompin' as a gospel song should be. This bunch has a versatility not usually found in a group with only 4 pieces--and to think they started out as a session band for a Robben Ford album! Don't be put off by the jazz snobs and avoid this band--I ignored the rock'n'roll snobs 20 years ago and ended up with a record collection that's insurance against boredom Met Life couldn't hope to underwrite.Live Wires Overview

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Romantic Warrior Review

Romantic Warrior
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Romantic Warrior ReviewBack in 1976, albums like Romantic Warrior were the norm in jazz. Bebop and hardbop jazz had "gone underground" as fusion ran its natural course. For older jazz fans, the connection between free form innovation and electronical pyrotechnics often spelled confusion and misunderstanding. For those of us who grew up with bands like Gentle Giant, Yes, Genesis and E.L.P., the album was something of a find. It allowed us to develop "ears" for listening to older jazz. For me, it didn't take long to backtrack to Herbie Hancock's Empyrean Isle album or Wayne Shorter's See No Evil after hearing this landmark release. All by way of saying that, even after close to twenty-five years, this album holds up remarkably well (when so many other fusion experiments now sound somewhat stilted and comical). There should be little doubt in readers minds that this is heady, trippy, mind-expanding stuff. Its use of electronics (especially synths) and the fire brought to the interplay of guitars, bass and drums, make it a tough listen for those who think jazz is all brush-stroke drums and soft, muted trumpets. Listening to it again, however, I heard elements of Coltrane and Monk, Mingus and Bitches' Brew-era Davis...things I hadn't the first time because I hadn't experienced them. And hearing those elements here "for the first time" as it were, deeply enhanced my listening pleasure. Make no mistake, this was, is and always will be, a jazz album. It may be a highly idiosyncratic release, definitely a product of its time, but it still sounds soaring, inventive, playful, intense, winning. A perfect remastering job rounds out the experience. All told, it achieves what every good reissue should: it allows a recontextualization of what made it important and reaffirmed what made it essential. Its intensity, wryness and bold strokes a great romp through diverse fields in search of 3-D windmills and Moog jesters. Exceptional.Romantic Warrior OverviewNo Description Available.Genre: Jazz MusicMedia Format: Compact DiskRating: Release Date: 8-FEB-2000

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Friends Review

Friends
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Friends ReviewBetween his 1970's Return to Forever albums and his late-80's Elektric band albums, Chick released a number of good small-ensemble jazz albums full of original compositions - albums which have, for whatever reason, languished in obscurity. Here he teams up with Joe Farrell on flute and reeds, Eddie Gomez on bass and Steve Gadd on drums: how can you miss with that kind of line-up?
Each member of this quartet really contributes to the whole: Eddie Gomez's sound on the bass is rich and full, and Steve Gadd supplies a constant creative energy. The tracks have a great balance between composed structure(including intricate passages with Chick and Joe in unison) and improvisation that lets the individual players shine. Only the slightly hokey sound and lack of energy of the first track, and maybe the Smurfs on the cover, keep this from being five stars. For ten bucks, it's a steal for any Chick fan.Friends Overview

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Bringing Back the Funk Review

Bringing Back the Funk
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Bringing Back the Funk ReviewI received my copy earlier today, and what can I say? This is the perfect cd for me as a huge fan of funk. And I liked Brian alot even before this one....Just the list of wellknown funky musicians say anything you need to know. It's hard not to move when listening to this music, the songs themself and the production is perfect. 5+ stars!Bringing Back the Funk Overview

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Tutu Review

Tutu
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Tutu ReviewIn 1985, Miles Davis' thirty year association with Columbia Records came to an end and the jazz legend, who managed to reinvent jazz a dozen times over managed to reinvent the price value of jazz recording contracts when he signed with Warner Brothers. What Davis unfortunately didn't seem to do was read past the bottom line and his royalties for songwriting would lie with Warner Brothers, not with him. As a result, Davis refused to compose anything on his own and instead brought his former bass player Marcus Miller to compose for him. Miller wrote compositions for Davis and set up a framework in which the trumpeter could solo. The first album resulting from this collaboration, "Tutu", proves to be one of the great records of Davis' career, and like "Sketches of Spain" before it, provides a powerful launching pad for Davis and coaxes out of him one of his best performances.
Musically, the album is guaranteed to alienate Davis fans everywhere-- while he'd abandoned acoustic instruments as the only way to go in the '60s, this album was an embracing of synthesizers, drum machines, and electric instruments, even moreso than his previous records were. Miller performed all the electric and acoustic instruments (including bass guitar, electric guitar, at least some live drums, soprano sax, bass clarinet and synthesizers) with additional contributions in synth programming from Ron Miles and Adam Holzman and one track ("Backyard Ritual") where George Duke assumes the framing role. The album does sound (particularly in the drum tracks) a bit dated, but this in no way gets in the way of enjoying the album anymore than acoustic basses get in the way of enjoying Davis' '50s work-- in fact, it all adds to the ambience. Most importantly is that Davis, who sometimes seemed a bit unengaged with his own music on his later recordings, is full of fire and passion-- blows powerfully in a number of different moods, be it passion and fir ("Tutu"), a deep romanticism and yearning ("Portia"), funky explosiveness ("Splatch") or bouncey ecstacy ("Perfect Way").
For the purists who claim it's not jazz if it has electric instruments, programmed beats, or synthesizers-- skip this, you'll find nothing to like and nothing I say will convince you otherwise, even though this album is one of the best of its form. For those who question bringing in Miller to frame Davis and would make the statement this is a Marcus Miller record thinly veiled as a Miles Davis album-- remember that Gil Evans set up the same kind of framings for Davis, and no one views "Miles Ahead" or "Sketches of Spain" (or for that matter "The Birth of the Cool" where Davis only cowrote one piece) as anything other than a Miles Davis album. The fact is, this album is one of the best of its generation, and time and again, Davis proved he was capable of shaking the jazz world apart. And I suspect it's no coincidence that in his absence, a regressionist viewpoint has taken hold in commercial jazz. "Tutu" is a relic of a time when artists were not afraid to try something new. Highly recommended.Tutu Overview

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Handjive Review

Handjive
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Handjive ReviewI admit it -- not all of Scofield's work is to my taste -- some of it is a bit esoteric and left brained. But this CD has got to appeal to anyone who just loves a solid groove and a love of the blues. It is warm and funky and soulful, as well as intricate. If you admired Eddie Harris/Les McCann in the 1960's/70's (think "Swiss Movement"),think of this as a very contemporary update. The CD combines the Harris/McCann signature propulsive eigth note groove with some very tasty sax and guitar unisons. Add drumeister Bill Stewart's work (which I'm still vainly trying to transcribe and play) and this thing just sings. Highly recommended, even if you don't consider yourself a hardcore jazz fan or Scofield fan. This disc will make you bounce down the street for the first few weeks you listen.Handjive Overview

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A Go Go Review

A Go Go
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A Go Go ReviewScofield sounds totally at home in so many musical settings, whether its the (relatively) straightahead live jazz on 2003's "EnRoute" with bassist Steve Swallow and drummer Bill Stewart, or this rollicking funky (and fun) ride from 1998. Here, just when the funk grooves reach meltdown point, Sco and his tighter than tight collaborators Medeski Martin and Wood take it down a few notches and its more of a slow burn. Tunes range in style from the hook-laden, melodic "Jeep on 35" (one member of the band in fact can be heard whistling the melody at a certain point) to the faintly menacing and furiously climactic "Hottentot", which most of my neighbours will also be familiar with by now. Scofield is in a class of his own when it comes to sounding soulful and laid-back and angular and unpredictable all at once (I like to think he'd have hit it off with Thelonious Monk had they belonged to the same era); I think that comes also from the fact that he's not an out-and-out speed demon, trying to bludgeon you into submission with a flurry of notes. If he were a boxer, he'd be one of those ones that wear down their opponent by circling them and picking them off with well-timed, unpredictable combinations and the occasional sneaky blow below the belt. In total control. Great stuff, though definitely a "grower" - I wasn't totally blown away at first myself, so give it a few spins!A Go Go OverviewJapanese Release featuring Two Bonus Tracks: Like it Or Not, and Hope Springs Eternal.--This text refers to an out of print or unavailable edition of this title.

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Watercolors Review

Watercolors
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Watercolors ReviewThis is, I believe, Pat M.'s most underappreciated recording. First listened to in 1979 (my second PMG purchase, the first being the famous "White Album", bought on a recommendation of a fellow Graduate student - a recommendation that significantly changed my music listening life!), this CD symbolizes the exciting early dating days with my wife of 20 plus years, my wonderful experience at Dartmouth college, and my music listening evolution of Rock into Jazz, particularly that on the ECM label.
This is very pure music - no synthesizers, no unusual guitar effects, just emotive story telling from a very promising, very young talent that has created a remarkably consistenly excellent body of music that is his alone, and that easily becomes a vital part of everyone's CD collection. There are no weak cuts on the CD (typical of Metheny's output), and some, such as the incredible Sea Song, are amongst my favorite music of all time. Eberhard Weber adds a distinctive flavor to the session that was not repeated on any other Metheny CD.
This music does not age, does not go out of date or style-so give it a try, and do yourself and mental well-being a big favor!Watercolors OverviewJapanese only SHM-CD (Super High Material CD - playable on all CD players) pressing. Universal. 2008.--This text refers to an alternate Audio CD edition.

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Best of Review

Best of
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Best of ReviewThis 1997 Best Of CD is a compilation of selected tracks from Fourplays first three albums, 1991's self-titled debut, 1993s Between The Sheets, & 1995s Elixir plus three 'new' tracks. I must say though that this CD in my opinion is a bit too early in Fourplays career to really have a best of CD. The group have thrown out three CDs since this collection came with 1998s '4' being a jazz masterpiece and it has lots of strong material that could've been put on this 'Best Of' CD had it been released later. Fourplay are a very talented jazz group and really stand out in my opinion in the smooth jazz field. The only better jazz band in that field is Dancing Fantasy although their music is more on the New Agey side. My favorites are the danceable Bali Run, the lovely rendition of The Isley Brothers 'Between The Sheets', the eclectic Max-O-Man, and 4Play & Pleasure. The one song though that beats everything else on this CD is the stunning version of Phil Collins Why Can't It Wait Till Morning which features Phil himself on vocals and it beats out the original version and ranks as the one of the best songs that Fourplay have ever performed. WCIWTM keeps this CD a five-star. A worthy collection that is worth it just for track 4 and track 12 alone.:)Best of Overview

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Thrust Review

Thrust
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Thrust ReviewAlthough I enjoyed the Headhunters album (1973), this 1974 release is a bit more appealing - and it has nothing to do with the sci-fi cover art. In general, the playing on this album seems further out there and a bit more sophisticated, even though the only thing that changed was the addition of jaw-dropping virtuoso drummer Mike Clark (shows you just how important the drummer is I guess).
The musicians on this album include the keyboard wizard himself Herbie Hancock playing "traditional" jazz-rock instruments (Fender Rhodes electric piano and Hohner D-6 clavinet) along with just about every synthesizer ARP manufactured in 1974 (ARP Odyssey, ARP Pro Soloist, ARP 2600, and ARP String Ensemble); Bernie Maupin (soprano and tenor saxophone, saxello, bass clarinet, and flute); Paul Jackson (electric bass guitar); Paul Summers (percussion); and drummer extraordinaire Mike Clark (who went on to jam with English jazz rock group Brand X).
Stylistically, this album fuses elements of traditional (straight) jazz with both jazz-rock and funk. With respect to the funk styles, the funk is not the more pop-oriented style of Sly and the Family Stone. This funk is deeply sophisticated and utilizes just about every odd time signature under the sun, which is largely an artifact of Mike Clarks' nimble and intricate technique (Actual Proof is a great example). Furthermore, his emphasis on subtle hesitations within a given bar lends the music an almost "choppy" and "off-kilter" feel. In fact, based upon Mike's comments in the liner notes (that he wrote), he seemed unwilling to play anything straight - I for one am glad, because I do not care for straight funk that much. Come to think of it, I am a progressive rock fan for crying out loud. I should note that bassist Paul is also excellent and does not "swing" either - then again, he has to follow Mike and they are both locked in tight on this album.
With respect to the heavy use of synthesizers on this album, I personally like the sounds that Herbie gets. Although synthesizers may turn some jazz fans off, I am a bit more accepting because my musical tastes include both 1970's electronica and European progressive rock.
All in all, this is a superb album of jazz-rock/funk from one of the genre's greatest musicians. Recommended along with Headhunters (1973) and albums by other influential Miles Davis alumni including John McLaughlin/Billy Cobham (Mahavishnu Orchestra - Birds of Fire, 1973); Joe Zawinul/Wayne Shorter (Weather Report - Black Market, 1976); and Chick Corea (Return to Forever - Romantic Warrior, 1976).Thrust OverviewThis 1974 follow-up to Head Hunters is a treasure trove of early grooves and super-funky rhythms. Includes Palm Grease; Actual Proof; Butterfly , and Spank-a-Lee , with new liner notes by drummer Mike Clarke. First time on CD in the U.S.!

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Feels So Good Review

Feels So Good
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Feels So Good ReviewThe Grammy winning title cut "Feels so Good" is what turned me on to Chuck Mangione's music. But this CD goes much further than that. ALL of the recordings here are excellent. And they are arranged alternating the fast and slow pieces in a pleasing way. "Maui Waui" and "Last Dance" are nice and relaxing. "Theme from Side Street" is short but meaningful. "Hide and Seek" is a catchy piece that will have you tapping to it. And "The XIth Commandment" is a brilliant end to this great CD.
This is by far Chuck's best recording. If you're in a qundary about which Chuck Mangione CD to buy, THIS IS THE ONE!Feels So Good Overview

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The Nightfly Review

The Nightfly
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The Nightfly ReviewAsk those who follow the music industry closely and they will tell you that Donald Fagen's "The Nightfly" is clearly one of the great albums of the last 25 years. Currently there is an artist on the music scene named Norah Jones who has gained some fame with a retro/jazz sound. While Jones does a nice job on this, Fagan does it even better on this album. Donald Fagen's "The Nightfly" brings the jazz/blues sound to the forefront, but takes it a step further. "The Nightfly" also is a concept album. In the CD's liner notes, Fagen says that the songs on this album "represent certain fantasies that might of been entertained by a young man growing up in the remote suburbs of a northeastern city during the late fifties and early sixties". When you listen to the songs on this collection, you will easily see how the theme flows through - and as a result, this enhances the listening experience.
Fagen assembles an outstanding lineup of musicians to work with him on this solo effort. While Fagen plays piano and synthesizers on many of the tracks, he also gets some help from acclaimed keyboard player, Greg Phillinganes. Phillinganes is best known for co-writing on several albums with Lionel Richie. Phillinganes contributes keyboards on 6 of the 8 tracks. The late Jeff Porcaro - from Toto (ironically "Toto IV" won the Grammy for Album of the Year in 1982 and "The Nightfly" was denied any awards) contributes drums on 5 of the 8 tracks. Valerie Simpson - from Ashford and Simpson contributes some outstanding background vocals on 5 of the tracks. Finally, guitarist Rick Derringer is on 2 tracks. These musicians do a simply outstanding job at making this the great album that it is, however don't underestimate Fagan. Fagen's unique vocals and crooning style are the real star of this show.
"The Nightly" might only have 8 tracks, but remember that this collection was released a couple of years before CDs really hit the mainstream. But it is worth noting that four of the eight songs are over 5 minutes in length. Here is a breakdown of each of the songs:
"I.G.Y." is the opening track and the best known song. This is a 6:05 minute track and it is a masterpiece. Phillinganes electric piano combined with Fagen's synthesizers mesh perfectly with some terrific horn work (Fagan integrates a trumpet along with an alto, tenor, and baritone sax). As a result, the music is perfect for the retro/jazz feel. This is an interesting song from a lyrical standpoint because Fagen paints a picture of the future of the world from the perspective of a young man growing up in the 50s.
"Green Flower Street" from a music standpoint isn't quite retro, but Fagen does some nice crooning and gives it the retro feel from a vocals standpoint. The music is very catchy on this song and makes for some terrific listening.
"Ruby Ruby" is another song that has a terrific combination of keyboards, horns, and vocals. It almost has a bit of an "alley cat" feel to it.Definite retro feel to it. Fagen describes a girl named "Ruby" who that the young man from the 1950s was infatuated with.
"Maxine" almost has a feel going back to the roaring twenties from the way the song opens.Here's another song where Fagen uses all three saxaphones (Baritone, Alto, and Tenor). This song also features a young man is infatuated with a woman - in this case someone named Maxine. Listen to how Fagen switches gears with the vocals - especially when he sings "Mexico City is like another world". I believe Fagen does all the vocals in this song and he harmonizes them perfectly.
"New Frontier" takes us into the early 60s and the days of the bomb shelters. The vocals say "A Summer smoker underground - It's just a dugout that my dad built - In case the reds decide to push the button down", but Fagen explores other areas as well such as the modern woman (advent of the woman who has it all). This song like "Green Flower Street" is going to have some very catchy music. You'll also hear some harmonica playing that adds a nice touch to this song.
"The Nightfly" is title track and it is appropriate - this is the song that is the glue that holds the whole album together. I get the impression that the young man that Fagen references (in the liner notes) having the fantasies is 'Lester the Nightfly' (whom he sings about). This song is a song about DJ (Lester) who sings about Jazz and Conversation. After all, isn't this what this album is about - a combination of jazz music and conversation themes (i.e. romance, the bomb, the future, etc). Great retro feel to this song. The background vocals - especially the call letters 'WJAZ' are awesome.
"The Goodbye Look" is a very underrated song on this collection. This is a song that has a Latin Jazz feel. No doubt, Fagen is singing about Havana, Cuba - once a vacation paradise now in the hands of the communists is place where 'the embassy has been hard to reach'.Great song and in a lot of ways might be the strongest track on the collection.
"Walk Between the Raindrops" is the shortest track at 2:38. I consider this the weakest track, but even this isn't all that bad. It has a nice catchy beat to it. Another great retro feel with a "Miami flare".
The liner notes contain all of the lyrics as well as giving credit to the outstanding musicians that contribute to this album. As mentioned above, Fagen notes (in the liner notes) the common theme that runs through this album. This is a collection that stands the test of time. If you are a music fan, you'll want this music as a part of your collection.A must have!The Nightfly OverviewAfter the breakup of Steely Dan in 1981, Fagen set to work on this critically acclaimed solo debut, which would peak at #11 on the Billboard charts on the strength of the hit I.G.Y. (What A Beautiful World) and its follow-up, New Frontier . Also includes the jazz-based tunes Green Flower Street; Ruby Baby; Maxine ; the title track, and more.

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Gaucho Review

Gaucho
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Gaucho Review"...and why is he standing in your spangled leather poncho and your elevator shoes?"
The absurdity of the lyrics--their audacious swagger--married to such righteous music can only be the work of one great band. Steely Dan doesn't rock. They don't necessarily do jazz. Their music is so unique it can only be described as "Steely Dan" music-- a trademark of quality since 1972.
While Aja is generally hailed as their triumph, I'm personally partial to this one. In fact I would rank it as one of the great albums of all time. It was also their most complex. This is amazing in light of the turmoil the Dan were undergoing during this time. Much of the work on Gaucho fell on Donald Fagen's shoulders since Walter Becker was dealing with drug problems. During the mixing sessions, Becker was largely absent after severely mangling his leg in a taxi mishap.
Gaucho is filled with songs surrounding the seamy underside of society's high rollers. It reveals a world seen through the haze of drugs and despair. It's a cathartic aural experience. If you haven't heard this album, you haven't experienced the full potential of music and the human imagination.
The title track, depicting a gay love triangle, is exquisite beyond description with its precise construction, stately horns, and a tricky melodic vocal line that tests Fagen. But what the heck is a "Custerdome?" Fagen visualized it as a fictional skyscraper with a revolving restaurant at the top. "Third World Man," an off-the-wall sketch of a child as terrorist in his sandbox bunker, features a sneering vocal and Larry Carlton's acidic guitar solo. The song began as "Were You Blind That Day?" which they left of the Aja album.
"Babylon Sisters" is hipper than hip with its funky keyboard run-up, slick horns, and girl singers biting off quick syllables. This is followed by the equally jivey "Hey Nineteen" in which the singer gushes over "The Cuervo Gold" and "the fine Columbian." It's a real hoot, as the singer, an older dude, tries to enlighten his teenage companion about Sixties soul music.
"Glamour Profession" concerns the activities of a coke sniffing basketball player named Hoops McCann. It burbles with synths and sleazy saxes. It's luxuriant tone is intoxicating. The bridge is co-opted from Kurt Weill's "Speak Low," with a dash of disco added.
This would prove to be the last great Steely Dan album. More trouble followed it's release. Keith Jarrett successfully sued the band for plagiarizing his "Long As You Know You're Living Yours" on the title track. Shortly after the album was issued, Fagen applied for a spot in Dylan's touring band. He never heard back from Zimmy. One can only imagine what that collaboration would have wrought!

Unable to top this masterpiece, it would be 20 years before Steely Dan put out another album of new material.Gaucho OverviewFagen and Becker followed Aja with another Top 10 LP, this one released in late 1980. At #10, the song Hey Nineteen gave 'em their biggest hit in six years; it joins the hit Time Out of Mind (featuring Mark Knopfler); Gaucho; My Rival , and more!

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Heavy Weather Review

Heavy Weather
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Heavy Weather ReviewBesides being perhaps the greatest ever jazz/rock supergroup, Weather Report actually managed to live up to their billings, without reservation.
They produced two astoundingly brilliant documents of their prowess, Black Market and Heavy Weather. Of the two--and this is more personal preference than anything clearly discernable--I believe Heavy Weather shines brightest.
Why?
Their ability to perfom at the highest levels of musical endeavor and innovation and still create a record that would appeal to the largest possible audience.
Surely "Birdland" and "Teen Town" are among the very highest accomplishments of what might be dubbed "accessible jazz." Combining simple, catchy melodies with progressive chord voicings and impossibly bubbly rhythms, they lend themselves both to extensive radio play and extended musical contemplation. Quite a feat.
The remainder of the disc, featuring a couple of Wayne Shorter's catchier compositions, "Harlequin" and "Palladium," also features "The Juggler," a magically mysterious offering from the pen of Zawinul, and "Havana," a stone rocker courtesy of Jaco Pastorius at the absolute height of his compositional prowess.
The absolute pinnacle of jazz/fusion, casually, effortlessly, blowing out of the water the entire jam band scene, Heavy Weather is not to be missed.Heavy Weather OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: WEATHER REPORTTitle: HEAVY WEATHERStreet Release Date: 09/23/1997

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