Madeleine Peyroux returns on March 5, 2013 with The Blue Room, an artistic rendering of a tribute to Ray Charles' ground breaking Modern Sounds In Country And Western Music. The album is not a straight cover project, as Peyroux hand picks tracks from the Ray Charles classic to interpret in her own inimitable style. She also includes takes on tunes by Randy Newman, Warren Zevon, John Hartford and Buddy Holly.
The lead single is Holly's "Changing All Those Changes", and Peyroux does more than just take the song for a walk; she makes it her own. Check out the video below, and keep your eyes and ears open for a lot more of Madeleine Peyroux this spring!
Showing posts with label Ray Charles. Show all posts
Showing posts with label Ray Charles. Show all posts
Monday, January 28, 2013
Tuesday, October 2, 2012
Elijah Tucker - Saturn
Elijah Tucker –
Saturn
2012, Elijah Tucker
Boy meets jam bands; falls in love; goes on to become a
musician.2012, Elijah Tucker
That is the story line of Elijah Tucker in a nutshell. Growing up in Washington, D.C., it was the
sound of Phish, Rusted Root and the Grateful Dead that turned Tucker onto
music. At the age of twelve he began
studying guitar, flute and drums all at the same time. There was no looking back from there. Tucker was writing songs within two years,
and even collected donations from classmates to buy his first four-track. He paid them all back by donating proceeds
from sales of his tapes to the class trip.
Tucker went on to success at Bard college as a member of jam bands Mother Ming and TheFoundation,
sharing stages with the likes of George Clinton, Brad Meldau, Mercury Rev, The
Slip and others. Fast forward to 2012,
and Elijah Tucker is on the cusp of releasing his second solo album, Saturn.
Tucker evokes all the joys of rock and roll on Saturn, but underscores it with a thoughtfulness and maturity that
is compelling.
Tucker opens with “Gimme Gimme”, which perhaps could be
sub-titled ‘The Narcissists Love Song’.
Delivered in a catchy early 1960’s rock arrangement, the song has a
heart of pure pop gold. “Crazy Things”
will make you want to dance. Tucker
pulls out elements of classic soul and funk, and accents it all with a horn
section you could imagine Tower of Power chiming in to. It’s an entertaining number that you’ll find
yourself repeating. “A Crimson Gleam” is
a wonderfully catchy mid-tempo rocker; a love songs of sort but written from a
pessimist’s perspective. What drives
this song is a deliriously messy guitar lick that’s dark and lascivious; it
gets inside your head and refuses to budge.
Tucker digs into bluesy soul for “Kickin’ Snow”, an
image-filled expanse on futile frustration.
The guitar and organ-drive arrangement have a classic sound, but Tucker
helps his cause with an emotive vocal line that alternates tension and
resolution in masterful style. Little
turns of phrase ice the cake here, as Tucker completes one of the most finely
crafted songs of the outing here. “O
Pain! Piano” has a bouncy melancholy feel that’s reminiscent of some of Billy
Joel’s early work, but also involves some silly word play that lightens the
mood. Tucker is at his vocal best here.
Touches of Latin and soul help infuse “Amos And Boris” with uncanny
warmth, which keeps the interest up in what is otherwise a fairly simple,
straightforward and unremarkable number.
This is a great job of dressing up a song. Tucker’s take on “If I Only Had A Brain” is
ingenious, sounding more than a bit like Ray Charles. There is life in the arrangement, meted out
in swung rhythms and an inspired vocal line.
Tucker closes things out with “Whoa Daddy”, a cute and entertaining
number that’s more afterthought than strong close.
Some might say that Elijah Tucker suffers something of a
musical identity crisis on Saturn. He changes styles and sounds so often on the
album it might make your head spin. The
thing is, Tucker is bloody good at almost anything he touches. There are a lot of post-genre acts out there
who say that no style or sound is off the table, but few make the transitions
in between as well as Elijah Tucker.
That being said, Saturn is a
bit chaotic at times, but chaotic in the way a good party is: running with a life of its own but never
quite out of control.
Rating: 4 Stars
(Out of 5)Friday, October 16, 2009
Review: Michael Buble - Crazy Love
Michael Bublé - Crazy Love
2009, 143/Reprise Records
Michael Bublé is back with his latest, an album entitled Crazy Love. The multiple Grammy-winning Bublé turns introspective and autobiographical on Crazy Love, which features 11 standards/covers and two original tracks. Bublé has sold over 22 million albums around the world, and his 2005 release, It's Time, holds the records for the longest run on the Billboard Traditional Jazz Charts at two years (with 80 weeks at #1). Guests on Crazy Love include the acapella group Naturally 7, and Sharon Jones and The Dap Kings. Production responsibilities were shared between David Foster, Bob Rock and Humberto Gatica.
Bublé opens with a darkly modern take of Cry Me A River. With a martial air, Bublé illuminates the song in bright new fashion while holding on to it's classic nature. All Of Me is done in more classic style with a touch of Vegas flair. Bublé does a good job with Georgia On My Mind, but I have been forever spoiled by the late, great Ray Charles on this song. Bublé's version is good but just doesn't stand up to the original. Bublé does much better with his cover of Van Morrison's Crazy Love. This is a classic song that mixes elements of Folk, Rock and Soul, and Bublé and his ensemble work magic here. Bublé opens up to a Broadway meets The Partridge Family style tune with the ebullient Haven't Met You Yet. This is a hopeless romantic's tune with a bouncy chorus you won't be able to get out of your head. Bublé is inspired here, and the arrangement as a whole plays to all of his strengths in a golden Pop moment.
Bublé visits the 1950's for his rendition of All I Do Is Dream Of You. The collective spirit of Louis Prima and Bobby Darin shines down on this particular number in one of the brightest moments on Crazy Love. Bublé creates a moment of musical déjà vu with Hold On, a song so instantly familiar I was certain it was a cover. This is an incredible tune that could be a pop classic, sounding like something that might have been written by Elton John or Billy Joel. Bublé goes Honky-Tonk with a live jazz/rock cover of The Eagles' Heartache Tonight. This is a fun version that's a bit livelier even than the original and certain to inspire some dancing. You're Nobody Till Somebody Loves You is done in classic Sinatra style and paves the way for Baby (You've Got What It Takes), featuring Sharon Jones and The Dap Kings. This is the highlight of the album, as singing with Sharon Jones seems to bring out a more soulful side of Bublé.
Bublé's cover of Billy Vera & The Beaters' At This Moment is another bit of magic. Bublé sticks pretty close to the original here, and while his voice may be prettier he doesn't hope to match the sound and heart of Billy Vera. Nevertheless, Bublé's performance is dynamic in it's own fashion and serves the song very well. Accapela group Naturally 7 lends their vocal talents on Hoagie Carmichael's Stardust. The result is a rendition that sounds like a young Bobby Darin singing with The Mills Brothers. The vocal arrangement here, in particular of Naturally 7, helps to build a classic sound for one of the greatest compositions of the twentieth century. Bublé closes out with the Latin-styled Whatever It Takes, a song of love and devotion that's a bit cliché but sweet.
Michael Bublé does it again. Crazy Love is the sort of transitional album that will allow Bublé to keep his traditional fans while beginning to build more present among folks with slightly more modern tastes in music. Crazy Love is certain to continue Bublé's string of Gold and Platinum albums while earning him serious Grammy consideration. Crazy Love is the work of a consummate professional at the top of his game.
Rating: 4 Stats (Out of 5)
You can learn more about Michael Bublé at http://www.michaelbuble.com/ or www.myspace.com/michaelbuble. You can purchase Crazy Love as either a CD or download via Amazon.com.
2009, 143/Reprise Records
Michael Bublé is back with his latest, an album entitled Crazy Love. The multiple Grammy-winning Bublé turns introspective and autobiographical on Crazy Love, which features 11 standards/covers and two original tracks. Bublé has sold over 22 million albums around the world, and his 2005 release, It's Time, holds the records for the longest run on the Billboard Traditional Jazz Charts at two years (with 80 weeks at #1). Guests on Crazy Love include the acapella group Naturally 7, and Sharon Jones and The Dap Kings. Production responsibilities were shared between David Foster, Bob Rock and Humberto Gatica.
Bublé opens with a darkly modern take of Cry Me A River. With a martial air, Bublé illuminates the song in bright new fashion while holding on to it's classic nature. All Of Me is done in more classic style with a touch of Vegas flair. Bublé does a good job with Georgia On My Mind, but I have been forever spoiled by the late, great Ray Charles on this song. Bublé's version is good but just doesn't stand up to the original. Bublé does much better with his cover of Van Morrison's Crazy Love. This is a classic song that mixes elements of Folk, Rock and Soul, and Bublé and his ensemble work magic here. Bublé opens up to a Broadway meets The Partridge Family style tune with the ebullient Haven't Met You Yet. This is a hopeless romantic's tune with a bouncy chorus you won't be able to get out of your head. Bublé is inspired here, and the arrangement as a whole plays to all of his strengths in a golden Pop moment.
Bublé visits the 1950's for his rendition of All I Do Is Dream Of You. The collective spirit of Louis Prima and Bobby Darin shines down on this particular number in one of the brightest moments on Crazy Love. Bublé creates a moment of musical déjà vu with Hold On, a song so instantly familiar I was certain it was a cover. This is an incredible tune that could be a pop classic, sounding like something that might have been written by Elton John or Billy Joel. Bublé goes Honky-Tonk with a live jazz/rock cover of The Eagles' Heartache Tonight. This is a fun version that's a bit livelier even than the original and certain to inspire some dancing. You're Nobody Till Somebody Loves You is done in classic Sinatra style and paves the way for Baby (You've Got What It Takes), featuring Sharon Jones and The Dap Kings. This is the highlight of the album, as singing with Sharon Jones seems to bring out a more soulful side of Bublé.
Bublé's cover of Billy Vera & The Beaters' At This Moment is another bit of magic. Bublé sticks pretty close to the original here, and while his voice may be prettier he doesn't hope to match the sound and heart of Billy Vera. Nevertheless, Bublé's performance is dynamic in it's own fashion and serves the song very well. Accapela group Naturally 7 lends their vocal talents on Hoagie Carmichael's Stardust. The result is a rendition that sounds like a young Bobby Darin singing with The Mills Brothers. The vocal arrangement here, in particular of Naturally 7, helps to build a classic sound for one of the greatest compositions of the twentieth century. Bublé closes out with the Latin-styled Whatever It Takes, a song of love and devotion that's a bit cliché but sweet.
Michael Bublé does it again. Crazy Love is the sort of transitional album that will allow Bublé to keep his traditional fans while beginning to build more present among folks with slightly more modern tastes in music. Crazy Love is certain to continue Bublé's string of Gold and Platinum albums while earning him serious Grammy consideration. Crazy Love is the work of a consummate professional at the top of his game.
Rating: 4 Stats (Out of 5)
You can learn more about Michael Bublé at http://www.michaelbuble.com/ or www.myspace.com/michaelbuble. You can purchase Crazy Love as either a CD or download via Amazon.com.
Saturday, July 18, 2009
Review: Monika Jalili - Élan
Monika Jalili - Élan
2009, RMJ Publishing
Monika Jalili stumbled into Persian music much the way destiny finds most people; it was something that was never entirely distant from her life based on her background, but took her quite surprise. Jalili was pursuing a career in musical theater when bitten by the bug of Persian music. After starting NoorSaaz with Megan (nee Weeder) in 2004, Persian music filled more and more of Jalili's musical vision. The culmination (thus far), is the album Élan. Jalili takes traditional folk songs of Iran/Persia prior to the Iranian revolution and breathes life into them with readings that mix both eastern and western perspectives. Jalili sings in Persian, Azeri, French and English, and her love of the songs shows through in every note. Many of these songs have been banned in Iran since the Iranian Revolution in 1979, but continue to inspire and move people all around the world. Élan is produced by Jamshied Sharifi, himself a prodigious composer (Muppets In Space, Down To Earth, Harriet The Spy, Clockstoppers), Arranger (Ray Charles, Paula Cole, Dream Theater) and band leader.
Élan opens with Ghoghaye Setaregan (Dance Of The Stars), an uplifting song full of hope and grace. Jalili's voice is eminently beautiful; a full and rich soprano that caresses each note with its texture and tone. Arezooha (Wishes) pulls in some serious Western Influence ala Windham Hill. The acoustic guitar here serving as the perfect complement to Jalili's vocals. This is one of those songs you just won't want to end, and the language barrier won't matter either. You don't need to understand the words to get the wistful hope with a slice of melancholy that pervades the song. As if to balance the western feel of Arezooha, Jalili heads resolutely in the other direction on Gonjeshgake Ashi Mashi. The violin and guitar nearly steal the show on this song, but Jalili owns the stage even on CD.
Ay Rilikh (Separation) is as close to an operatic recitative that Jalili gets on Élan. There's no Wagnerian fire and brimstone, but the emotive quality of the song is startling. The song itself is a thing of beauty, and Jalili draws every ounce of subdued drama and sorrow out into the open in the texture and tone of her voice. Evlari Vaar (To Bemaan) is one of the more interesting songs on Élan with clear Persian roots but an almost Eastern European/Slavic feel to it. The arrangement here is somewhat simplistic but that works to showcase Jalili's voice on a particularly challenging vocal line.
Biya Bare Safar Bandim (Let's Be On Our Way) has an almost Rock N Roll feel to it, bowing to distinct western influence. This is another relatively bare arrangement, relying primarily on guitar, violin and percussion. Peyke Sahari (Messenger Of Dawn) may well be the most beautiful composition on the disc, and finds Jalili in her most lyric vocal line yet. Bia Bia Benshin (Come Sit By Me) takes full control of the Persian scale, making the most of those two extra half-steps. Bia Bia Benshin sounds like it might have stepped right out of a movie or musical. Élan closes out with what must be described as the keynote song of the album, Ay Vatan (Oh, My Homeland). This is not so much a song of nationality as a musical ode to the land where an entire people's roots are driven deep. You'll be moved by Ay Vatan regardless of your nationality, and Jalili's rendition is absolutely haunting.
Monika Jalili comes along with a collection of poignant and beautiful Iranian/Persian songs that predate the Iranian Revolution at a time when the residents of that country are closer to turning back the revolution that binds them than at any point since 1979. Élan speaks to the goodness and yearning for a better life of a beautiful people; one who is striving right now for the freedom to choose their own path. If Jalili's album is reflective of the culture and nature of the people of Iran when free from oppression and fear, then it is an amazing tribute to a national spirit that has been hidden from the world for three decades. Élan is an amazing collection full of beauty, hope and the fragile yet vital strength of the human spirit.
Rating: 4 Stars (Out of 5)
You can learn more about Monika Jalili at http://www.monikajalili.com/, where you can purchase a copy of Élan. The CD is also available from Amazon.com. Downloads are available through iTunes.
2009, RMJ Publishing
Monika Jalili stumbled into Persian music much the way destiny finds most people; it was something that was never entirely distant from her life based on her background, but took her quite surprise. Jalili was pursuing a career in musical theater when bitten by the bug of Persian music. After starting NoorSaaz with Megan (nee Weeder) in 2004, Persian music filled more and more of Jalili's musical vision. The culmination (thus far), is the album Élan. Jalili takes traditional folk songs of Iran/Persia prior to the Iranian revolution and breathes life into them with readings that mix both eastern and western perspectives. Jalili sings in Persian, Azeri, French and English, and her love of the songs shows through in every note. Many of these songs have been banned in Iran since the Iranian Revolution in 1979, but continue to inspire and move people all around the world. Élan is produced by Jamshied Sharifi, himself a prodigious composer (Muppets In Space, Down To Earth, Harriet The Spy, Clockstoppers), Arranger (Ray Charles, Paula Cole, Dream Theater) and band leader.
Élan opens with Ghoghaye Setaregan (Dance Of The Stars), an uplifting song full of hope and grace. Jalili's voice is eminently beautiful; a full and rich soprano that caresses each note with its texture and tone. Arezooha (Wishes) pulls in some serious Western Influence ala Windham Hill. The acoustic guitar here serving as the perfect complement to Jalili's vocals. This is one of those songs you just won't want to end, and the language barrier won't matter either. You don't need to understand the words to get the wistful hope with a slice of melancholy that pervades the song. As if to balance the western feel of Arezooha, Jalili heads resolutely in the other direction on Gonjeshgake Ashi Mashi. The violin and guitar nearly steal the show on this song, but Jalili owns the stage even on CD.
Ay Rilikh (Separation) is as close to an operatic recitative that Jalili gets on Élan. There's no Wagnerian fire and brimstone, but the emotive quality of the song is startling. The song itself is a thing of beauty, and Jalili draws every ounce of subdued drama and sorrow out into the open in the texture and tone of her voice. Evlari Vaar (To Bemaan) is one of the more interesting songs on Élan with clear Persian roots but an almost Eastern European/Slavic feel to it. The arrangement here is somewhat simplistic but that works to showcase Jalili's voice on a particularly challenging vocal line.
Biya Bare Safar Bandim (Let's Be On Our Way) has an almost Rock N Roll feel to it, bowing to distinct western influence. This is another relatively bare arrangement, relying primarily on guitar, violin and percussion. Peyke Sahari (Messenger Of Dawn) may well be the most beautiful composition on the disc, and finds Jalili in her most lyric vocal line yet. Bia Bia Benshin (Come Sit By Me) takes full control of the Persian scale, making the most of those two extra half-steps. Bia Bia Benshin sounds like it might have stepped right out of a movie or musical. Élan closes out with what must be described as the keynote song of the album, Ay Vatan (Oh, My Homeland). This is not so much a song of nationality as a musical ode to the land where an entire people's roots are driven deep. You'll be moved by Ay Vatan regardless of your nationality, and Jalili's rendition is absolutely haunting.
Monika Jalili comes along with a collection of poignant and beautiful Iranian/Persian songs that predate the Iranian Revolution at a time when the residents of that country are closer to turning back the revolution that binds them than at any point since 1979. Élan speaks to the goodness and yearning for a better life of a beautiful people; one who is striving right now for the freedom to choose their own path. If Jalili's album is reflective of the culture and nature of the people of Iran when free from oppression and fear, then it is an amazing tribute to a national spirit that has been hidden from the world for three decades. Élan is an amazing collection full of beauty, hope and the fragile yet vital strength of the human spirit.
Rating: 4 Stars (Out of 5)
You can learn more about Monika Jalili at http://www.monikajalili.com/, where you can purchase a copy of Élan. The CD is also available from Amazon.com. Downloads are available through iTunes.
Tuesday, June 23, 2009
Review: Nick Daugherty - Movin' Higher
Nick Daugherty – Movin’ Higher
2009, Skyrocket Records
Los Angeles singer/songwriter Nick Daugherty is a former military officer with a penchant for deep lyrics and soulful arrangements. Among the upper echelon of performers on the L.A. music scene, Daugherty sets his sights on bigger things in 2009 with the release of his debut album, Movin’ Higher. Produced by Mandi Martin (Ray Charles, Sam Cooke, Oleta Adams, Amy Kuney), Movin’ Higher finds Daugherty throwing his heart and soul into every single track. It’s no surprise considering his list of influences, which include Sting, Billy Joel, Clapton, Stevie Ray Vaughan, Dave Matthews, Paul Simon and Derek Webb (Caedmon’s Call).
Daugherty opens with Movin' Higher, the title track, a mix of Americana, Blues and good old-fashioned pop music. The song is highly melodic with soulful backing vocals and a whole lot going on between the staves. Daugherty breaks into some easy flowing R&B on Out Of My League, a Delilah-worthy tune if ever there was one. Sick Day has a Barry Manilow does R&B feel to it that's pleasant to listen to although a bit odd in retrospect. The music here is generally in the Easy Listening/Adult Contemporary category, and works so well because Daugherty's voice is so pleasant and unimposing. Daugherty hits serious mix-tape territory with A Thousand Times Tonight, a sweet "falling in love" song that is sure to melt some hearts.
Staring At The Sun is a song about getting in lost in your own social scene, it's a high energy though slightly muted rock song with a high commercial ceiling. This sounds like movie soundtrack material for a teen comedy; don't be surprised if a bunch of artists pick this up as a cover tune. Daugherty steps back from the precipice of Rock N Roll with a jazz-flavored, Manilow-style ballad in Jamie. The songwriting here is exquisite, with Daugherty showing a lyrical finesse that is uncommon. This is another tune that sounds like licensing is in its future. The same lyrical acuity is noted on I Won't Stand For Watching You Fall Down. This song also hits on some mix-tape magic, but does skate dangerously close to the edge of cliché at times. The album closes out with Something More and Please Come Back Home. The latter is a love song written in a Blues and Gospel Rock format that's highly appealing to the ear.
Nick Daugherty writes Rock N Roll with some Blues, Gospel and R&B flavoring, depending on the mood of the song. Comparisons to folks like Barry Manilow, Marc Cohn and Joshua Kadison are inevitable. Daugherty's voice is a great sounding every man's voice; easy on the ears and with enough energy and heartfelt emotion to get listeners to buy into his songs. As a songwriter Daugherty is outstanding, possessing a talent for crafting lyrics that convey meaning without sounding trite. The material on Movin' Higher has a definite reading on the Schmaltz scale, but so what? When it's done well in the context of great songs, schmaltz is just another form of showmanship. Daugherty proves that showmanship is definitely a talent he possesses, and Movin' Higher is a great introduction who should be making music for many years to come.
Rating: 3.5 Stars (Out of 5)
You can learn more about Nick Daugherty at www.myspace.com/nickdaugherty or http://www.nickdaugherty.com/. You can purchase a copy of Movin’ Higher at Amazon.com, or download the album from iTunes.
2009, Skyrocket Records
Los Angeles singer/songwriter Nick Daugherty is a former military officer with a penchant for deep lyrics and soulful arrangements. Among the upper echelon of performers on the L.A. music scene, Daugherty sets his sights on bigger things in 2009 with the release of his debut album, Movin’ Higher. Produced by Mandi Martin (Ray Charles, Sam Cooke, Oleta Adams, Amy Kuney), Movin’ Higher finds Daugherty throwing his heart and soul into every single track. It’s no surprise considering his list of influences, which include Sting, Billy Joel, Clapton, Stevie Ray Vaughan, Dave Matthews, Paul Simon and Derek Webb (Caedmon’s Call).
Daugherty opens with Movin' Higher, the title track, a mix of Americana, Blues and good old-fashioned pop music. The song is highly melodic with soulful backing vocals and a whole lot going on between the staves. Daugherty breaks into some easy flowing R&B on Out Of My League, a Delilah-worthy tune if ever there was one. Sick Day has a Barry Manilow does R&B feel to it that's pleasant to listen to although a bit odd in retrospect. The music here is generally in the Easy Listening/Adult Contemporary category, and works so well because Daugherty's voice is so pleasant and unimposing. Daugherty hits serious mix-tape territory with A Thousand Times Tonight, a sweet "falling in love" song that is sure to melt some hearts.
Staring At The Sun is a song about getting in lost in your own social scene, it's a high energy though slightly muted rock song with a high commercial ceiling. This sounds like movie soundtrack material for a teen comedy; don't be surprised if a bunch of artists pick this up as a cover tune. Daugherty steps back from the precipice of Rock N Roll with a jazz-flavored, Manilow-style ballad in Jamie. The songwriting here is exquisite, with Daugherty showing a lyrical finesse that is uncommon. This is another tune that sounds like licensing is in its future. The same lyrical acuity is noted on I Won't Stand For Watching You Fall Down. This song also hits on some mix-tape magic, but does skate dangerously close to the edge of cliché at times. The album closes out with Something More and Please Come Back Home. The latter is a love song written in a Blues and Gospel Rock format that's highly appealing to the ear.
Nick Daugherty writes Rock N Roll with some Blues, Gospel and R&B flavoring, depending on the mood of the song. Comparisons to folks like Barry Manilow, Marc Cohn and Joshua Kadison are inevitable. Daugherty's voice is a great sounding every man's voice; easy on the ears and with enough energy and heartfelt emotion to get listeners to buy into his songs. As a songwriter Daugherty is outstanding, possessing a talent for crafting lyrics that convey meaning without sounding trite. The material on Movin' Higher has a definite reading on the Schmaltz scale, but so what? When it's done well in the context of great songs, schmaltz is just another form of showmanship. Daugherty proves that showmanship is definitely a talent he possesses, and Movin' Higher is a great introduction who should be making music for many years to come.
Rating: 3.5 Stars (Out of 5)
You can learn more about Nick Daugherty at www.myspace.com/nickdaugherty or http://www.nickdaugherty.com/. You can purchase a copy of Movin’ Higher at Amazon.com, or download the album from iTunes.
Saturday, May 2, 2009
Review: Frank Sinatra - My Way 40th Anniversary Edition
Frank Sinatra – My Way – 40th Anniversary Edition
2009, Concord Records
Also on May 5, Concord Records releases the 40th Anniversary Edition of Frank Sinatra’s classic album, My Way. With liner notes written by U2’s Bono, My Way holds a special place in American Popular Music. The song itself became Sinatra’s theme song, and the perfect epitaph for his career. The album reflected Sinatra’s attempt to stay hip amidst a torrent of changes in taste in popular music. My Way includes covers of Hallelujah I Love Her So, Mrs. Robinson and Yesterday. Included with the album are two previously unreleased tracks, a cover of Jean DuShon’s For Once In My Life (made popular a year earlier by Stevie Wonder) and a live version of My Way recorded in October, 1987 in Dallas. Even 40 years after the fact, this album is a stunner. My Way came at a point in Sinatra’s career when popular mores had left him behind. Record sales were declining and a wave of new artists were filling the airwaves. Sinatra would temporarily retire two years later for these reasons, but for whatever else was going on; Sinatra could take on any material and make it his own.
My Way wasn’t Sinatra’s best material over the course of a 5 decade career, but it’s a clear picture of an aging legend, still at the top of his game even though the game was changing. My Way should be a part of every music collection.
Rating: 4 Stars (Out of 5)
You can learn more about Frank Sinatra at http://www.sinatra.com/. The 40th Anniversary Edition of My Way will be released May 5, 2009, and is available through Amazon.com or wherever music is sold. You can also download the album through iTunes as of May 5th.
2009, Concord Records
Also on May 5, Concord Records releases the 40th Anniversary Edition of Frank Sinatra’s classic album, My Way. With liner notes written by U2’s Bono, My Way holds a special place in American Popular Music. The song itself became Sinatra’s theme song, and the perfect epitaph for his career. The album reflected Sinatra’s attempt to stay hip amidst a torrent of changes in taste in popular music. My Way includes covers of Hallelujah I Love Her So, Mrs. Robinson and Yesterday. Included with the album are two previously unreleased tracks, a cover of Jean DuShon’s For Once In My Life (made popular a year earlier by Stevie Wonder) and a live version of My Way recorded in October, 1987 in Dallas. Even 40 years after the fact, this album is a stunner. My Way came at a point in Sinatra’s career when popular mores had left him behind. Record sales were declining and a wave of new artists were filling the airwaves. Sinatra would temporarily retire two years later for these reasons, but for whatever else was going on; Sinatra could take on any material and make it his own.
My Way wasn’t Sinatra’s best material over the course of a 5 decade career, but it’s a clear picture of an aging legend, still at the top of his game even though the game was changing. My Way should be a part of every music collection.
Rating: 4 Stars (Out of 5)
You can learn more about Frank Sinatra at http://www.sinatra.com/. The 40th Anniversary Edition of My Way will be released May 5, 2009, and is available through Amazon.com or wherever music is sold. You can also download the album through iTunes as of May 5th.
Friday, April 3, 2009
Review: Ray Charles - Genius: The Ultimate Ray Charles Collection
Ray Charles - Genius: The Ultimate Ray Charles Collection
2009, Concord Records
Ray Charles is a legend, an icon. His voice is instantly recognizable. Folks from 8 to 80 know who Ray Charles is. Even my two year old loves Ray Charles (particularly Hit The Road Jack). Charles has been the subject of numerous collections over the past several years, all claiming to capture the "best of" or the "essential" Ray Charles. Next up, on April 7, 2009, Concord Records releases Genius: The Ultimate Ray Charles Collection, twenty-one of Ray Charles most well-known songs from the classic period of his career.
From a sound quality perspective this CD is as good as it gets. The one live track, Hallelujah, I Love Her So is so crisp and clean that if you close your eyes you'd almost think Ray Charles was right in front of you performing. From start to finish we get Ray Charles at his Pop/R&B/Blues best. Not much of Charles' later material is represented here, but for casual and new fans that won't matter much. Hit The Road Jack is here, as is What'd I Say (Part 1). I Can't Stop Loving You, I've Got A Woman and You Are My Sunshine are also here. Of course no Ray Charles collection would be complete without Georgia On My Mind, Charles' signature song. And if you haven't heard Ray Charles' cover of The Beatles Yesterday you're in for a real treat, and of course the album closes out with America The Beautiful.
If you have never really listened to Ray Charles this is a good place to start. So many artists over the past two generations have been influenced by Charles it's impossible to come up with a number. If you are a long-time fan then you probably have all of the material presented here, but the sound quality might make it a nice addition to your collection anyway. Whatever your musical tastes, you can't afford to not be at least acquainted with Ray Charles.
Rating: 4.5 Stars (Out of 5)
You can learn more about Ray Charles at http://www.raycharles.com/the_man.html. Genius: The Ultimate Ray Charles Collection hits shelves on April 7, 2009. You can pre-order the collection at Amazon.com.
2009, Concord Records
Ray Charles is a legend, an icon. His voice is instantly recognizable. Folks from 8 to 80 know who Ray Charles is. Even my two year old loves Ray Charles (particularly Hit The Road Jack). Charles has been the subject of numerous collections over the past several years, all claiming to capture the "best of" or the "essential" Ray Charles. Next up, on April 7, 2009, Concord Records releases Genius: The Ultimate Ray Charles Collection, twenty-one of Ray Charles most well-known songs from the classic period of his career.
From a sound quality perspective this CD is as good as it gets. The one live track, Hallelujah, I Love Her So is so crisp and clean that if you close your eyes you'd almost think Ray Charles was right in front of you performing. From start to finish we get Ray Charles at his Pop/R&B/Blues best. Not much of Charles' later material is represented here, but for casual and new fans that won't matter much. Hit The Road Jack is here, as is What'd I Say (Part 1). I Can't Stop Loving You, I've Got A Woman and You Are My Sunshine are also here. Of course no Ray Charles collection would be complete without Georgia On My Mind, Charles' signature song. And if you haven't heard Ray Charles' cover of The Beatles Yesterday you're in for a real treat, and of course the album closes out with America The Beautiful.
If you have never really listened to Ray Charles this is a good place to start. So many artists over the past two generations have been influenced by Charles it's impossible to come up with a number. If you are a long-time fan then you probably have all of the material presented here, but the sound quality might make it a nice addition to your collection anyway. Whatever your musical tastes, you can't afford to not be at least acquainted with Ray Charles.
Rating: 4.5 Stars (Out of 5)
You can learn more about Ray Charles at http://www.raycharles.com/the_man.html. Genius: The Ultimate Ray Charles Collection hits shelves on April 7, 2009. You can pre-order the collection at Amazon.com.
Saturday, March 21, 2009
Review: Brother Joscephus And The Love Revival Revolution Orchestra
Brother Joscephus And The Love Revival Revolution Orchestra - Self-Titled
2009, Righteous Enough Records
Today we get to hear the words of the secular gospel of Brother Joscephus And The Love Revival Revolution Orchestra, an 11-piece band from New York City who sounds like they just stepped off the steamer from New Orleans. Ray Charles Soul and R&B, southern Gospel and New Orleans Jazz all get thrown into the mix to create one of the most dynamic and enjoyable recordings to come out of the New York City scene in quite some time. Brother Joscephus And The Love Revival Orchestra was released in February of 2009 and has already made a splash in New York, but something this good can't be contained even in a city the size of New York. Brother Joscephus brings his message of universal love, harmony and peace wrapped up in some of the warmest feel good music you can find.
The CD opens with A Child Shall Lead, done in classic southern gospel style. It's an amazing listen and poignant regardless of your belief system. Like many of the songs on Brother Joscephus, A Child Shall Lead is written from the perspective of the downtrodden; the folks who know they can't live up to the standard of perfection but continue to try to be good and hope for one to come along to lead them all into the path of righteousness. The same ideal has transcended philosophical and religious thought in culture after culture, and there is a strong history of this resigned persistence in jazz in particular. Brother Joscephus captures this heavy dynamic perfectly in a song that is deep yet entertaining. Bon Temps Roulez is a New Orleans expression in French Creole meaning Let The Good Times Roll. The song is written in a jazz fueled style reminiscent of some of Randy Newman's best work and is a definite highlight.
Brother Joscephus channels the late, great Ray Charles on Can't Help Myself, getting the same sort of gritty soul and pop mix that Charles practically invented. O Moses and More Than I Need fit into the secular gospel model that Joscephus brings to this CD and to his live shows, whereas Bury Me In New Orleans hits the perfect blend of Rock, R&B and Jazz. It's hard to pick one or two highlights here, as everything on the disc is a great listen.
Brother Joscephus is a showman in the most classic sense. It would be easy to imagine seeing Brother Joscephus on the same stages as greats such as Louis Prima and Bobby Darin. Brother Joscephus And The Love Revival Revolution Orchestra is a must-listen, must own CD. While the style isn't original, there are so few people doing this sort of music these days that it will sound new and original, much like Brian Setzer reintroducing the world to Louis Prima and swing a decade ago. You don't want to miss this Wildy's World Certified Desert Island Disc.
Rating: 5 Stars (Out of 5)
You can learn more about Brother Joscephus And The Love Revival Revolution Orchestra at www.myspace.com/brotherjoscephus or http://www.brotherjoscephus.com/. You can purchase a copy of Brother Joscephus And The Love Revival Revolution Orchestra at www.cdbaby.com/cd/brotherjoscephus.
2009, Righteous Enough Records
Today we get to hear the words of the secular gospel of Brother Joscephus And The Love Revival Revolution Orchestra, an 11-piece band from New York City who sounds like they just stepped off the steamer from New Orleans. Ray Charles Soul and R&B, southern Gospel and New Orleans Jazz all get thrown into the mix to create one of the most dynamic and enjoyable recordings to come out of the New York City scene in quite some time. Brother Joscephus And The Love Revival Orchestra was released in February of 2009 and has already made a splash in New York, but something this good can't be contained even in a city the size of New York. Brother Joscephus brings his message of universal love, harmony and peace wrapped up in some of the warmest feel good music you can find.
The CD opens with A Child Shall Lead, done in classic southern gospel style. It's an amazing listen and poignant regardless of your belief system. Like many of the songs on Brother Joscephus, A Child Shall Lead is written from the perspective of the downtrodden; the folks who know they can't live up to the standard of perfection but continue to try to be good and hope for one to come along to lead them all into the path of righteousness. The same ideal has transcended philosophical and religious thought in culture after culture, and there is a strong history of this resigned persistence in jazz in particular. Brother Joscephus captures this heavy dynamic perfectly in a song that is deep yet entertaining. Bon Temps Roulez is a New Orleans expression in French Creole meaning Let The Good Times Roll. The song is written in a jazz fueled style reminiscent of some of Randy Newman's best work and is a definite highlight.
Brother Joscephus channels the late, great Ray Charles on Can't Help Myself, getting the same sort of gritty soul and pop mix that Charles practically invented. O Moses and More Than I Need fit into the secular gospel model that Joscephus brings to this CD and to his live shows, whereas Bury Me In New Orleans hits the perfect blend of Rock, R&B and Jazz. It's hard to pick one or two highlights here, as everything on the disc is a great listen.
Brother Joscephus is a showman in the most classic sense. It would be easy to imagine seeing Brother Joscephus on the same stages as greats such as Louis Prima and Bobby Darin. Brother Joscephus And The Love Revival Revolution Orchestra is a must-listen, must own CD. While the style isn't original, there are so few people doing this sort of music these days that it will sound new and original, much like Brian Setzer reintroducing the world to Louis Prima and swing a decade ago. You don't want to miss this Wildy's World Certified Desert Island Disc.
Rating: 5 Stars (Out of 5)
You can learn more about Brother Joscephus And The Love Revival Revolution Orchestra at www.myspace.com/brotherjoscephus or http://www.brotherjoscephus.com/. You can purchase a copy of Brother Joscephus And The Love Revival Revolution Orchestra at www.cdbaby.com/cd/brotherjoscephus.
Tuesday, March 3, 2009
Review: Tammie S. Webb - Non-Performing Songwriter
Tammie S. Webb – Non-Performing Songwriter
2008, Tammie S. Webb
Tammie S. Webb is a songwriter looking for licensing arrangements or individual artists to record her material. She sent her 7-song demo, Non-Performing Songwriter for us to check out.
The demo opens with Forever Only You; a love song with a country/gospel/blues feel similar to some of Ray Charles’ old recordings. It has real potential judging from the demo presented here, but may require an artist with a big voice and bigger charisma to pull it off. Merry Christmas is a country-style holiday song that is pleasant, but perhaps a bit too generic for its own good. It Was Good is fairly representative of adult contemporary pop, but gets bogged down in a low energy presentation. Rainy Days has potential as a recording project. The right vocalist and arrangement on this song and it could make an impact in the country genre, although it’s probably not single material. I Never Second Guess is just a little too marginal to really consider for recording. It’s not a bad song, but there’s really little about that makes it stand out. Ditto for Just To Say I’m Sorry. Saving the best for last, Webb closes out the demo with Best Thing. I didn’t like the arrangement (I thought it was too tame), but this could be a single for the right artist and have real impact at country radio. The lyrics are perhaps a little too kitschy, but that’s part of the charm of the song.
Tammie S. Webb offers up a mix of material on her demo, Non-Performing Songwriter. There are at least two songs here with real potential. Best Thing in particular may have wide commercial appeal in the right hands. I can also hear reggae and pop arrangements coming out of this one that would work quite well. Don’t hesitate to check out her songs on-line.
Rating: 3 Stars (Out of 5)
To learn more about Tammie S. Webb or check out streams of some of the songs mentioned here, head on over to http://www.tammiewebb.com/.
2008, Tammie S. Webb
Tammie S. Webb is a songwriter looking for licensing arrangements or individual artists to record her material. She sent her 7-song demo, Non-Performing Songwriter for us to check out.
The demo opens with Forever Only You; a love song with a country/gospel/blues feel similar to some of Ray Charles’ old recordings. It has real potential judging from the demo presented here, but may require an artist with a big voice and bigger charisma to pull it off. Merry Christmas is a country-style holiday song that is pleasant, but perhaps a bit too generic for its own good. It Was Good is fairly representative of adult contemporary pop, but gets bogged down in a low energy presentation. Rainy Days has potential as a recording project. The right vocalist and arrangement on this song and it could make an impact in the country genre, although it’s probably not single material. I Never Second Guess is just a little too marginal to really consider for recording. It’s not a bad song, but there’s really little about that makes it stand out. Ditto for Just To Say I’m Sorry. Saving the best for last, Webb closes out the demo with Best Thing. I didn’t like the arrangement (I thought it was too tame), but this could be a single for the right artist and have real impact at country radio. The lyrics are perhaps a little too kitschy, but that’s part of the charm of the song.
Tammie S. Webb offers up a mix of material on her demo, Non-Performing Songwriter. There are at least two songs here with real potential. Best Thing in particular may have wide commercial appeal in the right hands. I can also hear reggae and pop arrangements coming out of this one that would work quite well. Don’t hesitate to check out her songs on-line.
Rating: 3 Stars (Out of 5)
To learn more about Tammie S. Webb or check out streams of some of the songs mentioned here, head on over to http://www.tammiewebb.com/.
Monday, January 12, 2009
Review: Movin' Melvin Brown - The Magic Of You
Movin' Melvin Brown - The Magic Of You
2007, Melvin Brown
Movin' Melvin Brown may just be the last of the great song and dance men. His shows are an artists' depiction of what might happen if the likes of Same Cooke, Louis Armstrong, The Platters, James Brown, Ray Charles and Bill "Bojangles" Robinson all took the stage together for one night. Brown sings, dances, taps, clogs and performs comedic soliloquies in the course of a stage show that leaves audiences begging for more. Brown isn't just a mimic, he practically inhabits the memories of artists such as Sam Cooke and Ray Charles, as if the late, great stars stood before you on stage once more, if only for one night. Brown's 2007 release, The Magic Of You, finds Brown moving from persona to persona as he navigates his way through 17 vibrant tunes that run the gamut between Soul, R&B, Rock N Roll and the Blues.
Brown has added a newer song to The Magic Of You in honor of Barack Obama. I Have A Dream (Obama Dream Theme Song) is an update of the great Martin Luther King, Jr. speech as inspired by Obama's historic run for President of the United States. Whoto Man is an overtly political song that reads like a diatribe against dishonorable politicians. This kind of modern, mostly spoken-word material doesn't fit quite so well with Brown's persona. The same can be said to a degree about Communication. It's a great message steeped in cultural politics, but the message in this case overpowers the singer. People, on the other hand, finds Brown more in his element, with classic R&B vibes and a nasty funk bass line and Brown losing himself in the classic sounds.
The Magic Of You finds Brown channeling Ray Charles so close to true you'll do an aural double take. One of the true highlights of the disc is the jaunty My Love Is Real. The arrangement almost borders on cheesy at times, but Brown is spot on in one of the best performances on the album. Master Of The Beat gets Brown into full funk/disco mode with a country flavored guitar lead. It's an odd tune but wonderfully entertaining to listen to. There's almost a Creedence Clearwater Revival "Swamp Rock" thing going on here. I Ain't Got Time is another favorite. Movin' Melvin Brown is absolutely vocally inspired here. Other highlights include Can You Feel and Special.
Movin' Melvin Brown translates pretty well to CD, but my guess is that there is nothing quite like a live show with this man. Nevertheless The Magic Of You is quite a treat. Brown is at his best digging into a classic R&B or Blues sound, but is more than competent on everything else. There are a couple of slow moments on the album, but in general it's a fine offering. The Magic Of You is recommended for all ages, as much of the music Brown is practically universal across generations A great listen.
Rating: 4 Stars (Out of 5)
You can learn more about Movin' Melvin Brown at http://www.movinmelvin.com/ where you can purchase a copy of The Magic Of You.
2007, Melvin Brown
Movin' Melvin Brown may just be the last of the great song and dance men. His shows are an artists' depiction of what might happen if the likes of Same Cooke, Louis Armstrong, The Platters, James Brown, Ray Charles and Bill "Bojangles" Robinson all took the stage together for one night. Brown sings, dances, taps, clogs and performs comedic soliloquies in the course of a stage show that leaves audiences begging for more. Brown isn't just a mimic, he practically inhabits the memories of artists such as Sam Cooke and Ray Charles, as if the late, great stars stood before you on stage once more, if only for one night. Brown's 2007 release, The Magic Of You, finds Brown moving from persona to persona as he navigates his way through 17 vibrant tunes that run the gamut between Soul, R&B, Rock N Roll and the Blues.
Brown has added a newer song to The Magic Of You in honor of Barack Obama. I Have A Dream (Obama Dream Theme Song) is an update of the great Martin Luther King, Jr. speech as inspired by Obama's historic run for President of the United States. Whoto Man is an overtly political song that reads like a diatribe against dishonorable politicians. This kind of modern, mostly spoken-word material doesn't fit quite so well with Brown's persona. The same can be said to a degree about Communication. It's a great message steeped in cultural politics, but the message in this case overpowers the singer. People, on the other hand, finds Brown more in his element, with classic R&B vibes and a nasty funk bass line and Brown losing himself in the classic sounds.
The Magic Of You finds Brown channeling Ray Charles so close to true you'll do an aural double take. One of the true highlights of the disc is the jaunty My Love Is Real. The arrangement almost borders on cheesy at times, but Brown is spot on in one of the best performances on the album. Master Of The Beat gets Brown into full funk/disco mode with a country flavored guitar lead. It's an odd tune but wonderfully entertaining to listen to. There's almost a Creedence Clearwater Revival "Swamp Rock" thing going on here. I Ain't Got Time is another favorite. Movin' Melvin Brown is absolutely vocally inspired here. Other highlights include Can You Feel and Special.
Movin' Melvin Brown translates pretty well to CD, but my guess is that there is nothing quite like a live show with this man. Nevertheless The Magic Of You is quite a treat. Brown is at his best digging into a classic R&B or Blues sound, but is more than competent on everything else. There are a couple of slow moments on the album, but in general it's a fine offering. The Magic Of You is recommended for all ages, as much of the music Brown is practically universal across generations A great listen.
Rating: 4 Stars (Out of 5)
You can learn more about Movin' Melvin Brown at http://www.movinmelvin.com/ where you can purchase a copy of The Magic Of You.
Wednesday, December 31, 2008
Review: Babe Gurr - Chocolate Lilly
Babe Gurr - Chocolate Lilly
2008, Elan Records Canada
Babe Gurr. What a name. The folk/rock singer-songwriter from Vancouver Island, British Columbia has been turning heads for years with her blend of roots/blues/pop. Shaped by intelligent, sometimes funny lyrics, memorable melodies and strong arrangements, Gurr lights up her songs with an engaging presence and a sandy and sultry voice you won't forget. Gurr's latest release, Chocolate Lilly, continues in the vein of her earlier works. It's a stunningly beautiful and poignant musical experience.
Gurr starts with great songs and one of the tightest backing bands south of the arctic circle. Chocolate Lilly opens with Hard To Get Over Me, a soulful warning that's part Lucinda Williams and part Bonnie Raitt. If you ever want to court Gurr or a woman like her, listen closely to Love Is Tough. It's a statement of terms for a relationship, and probably one of the most commercial songs on the album. I Give Myself To You is destined for weddings, mix-tapes and scenes involving young men with box radios below the windows of ladies they adore. This is one of those classic love songs that with the right bit of commercial exposure would become the wedding theme of a generation. It avoids cliché while making an honest and forthright statement of devotion. The melody is memorable and won't leave you anytime soon. Gurr also pulls back a little back here vocally, sounding more like Shawn Colvin than Bonnie Raitt.
Babe Gurr is absolutely inspired on her cover of Ray Charles' Unchain My Heart. The song drips with soul and desire driven by Gurr's sultry voice. Larger Than Life frames a philosophy centered on taking life by the horns and having no regrets. It's a great Americana arrangement with real pop hooks. Make sure also to check out Understanding, a poignant look at inequality and the ultimate remedy. Other highlights include the title track, Chocolate Lilly, Now You're Gone and Break Thru.
Babe Gurr is the sort of talent who doesn't come along all that often, and her star is on the rise. Her music has already been tapped for the US television show Higher Ground, as well as being a guest on Canadian shows Canada AM and The Jim Byrnes Show. It's only a matter of time before Gurr's star rises above the Canadian Content Rule and she truly becomes an International artist. Chocolate Lilly is the clearest sign that she is ready, taking everything Gurr has done so well to this point in her career and raising her game another notch. It's an inspired performance.
Rating: 4.5 Stars (Out of 5)
You can learn more about Babe Gurr at http://www.babegurr.com/. You can purchase a copy of Chocolate Lilly at www.cdbaby.com/cd/babegurr3.
2008, Elan Records Canada
Babe Gurr. What a name. The folk/rock singer-songwriter from Vancouver Island, British Columbia has been turning heads for years with her blend of roots/blues/pop. Shaped by intelligent, sometimes funny lyrics, memorable melodies and strong arrangements, Gurr lights up her songs with an engaging presence and a sandy and sultry voice you won't forget. Gurr's latest release, Chocolate Lilly, continues in the vein of her earlier works. It's a stunningly beautiful and poignant musical experience.
Gurr starts with great songs and one of the tightest backing bands south of the arctic circle. Chocolate Lilly opens with Hard To Get Over Me, a soulful warning that's part Lucinda Williams and part Bonnie Raitt. If you ever want to court Gurr or a woman like her, listen closely to Love Is Tough. It's a statement of terms for a relationship, and probably one of the most commercial songs on the album. I Give Myself To You is destined for weddings, mix-tapes and scenes involving young men with box radios below the windows of ladies they adore. This is one of those classic love songs that with the right bit of commercial exposure would become the wedding theme of a generation. It avoids cliché while making an honest and forthright statement of devotion. The melody is memorable and won't leave you anytime soon. Gurr also pulls back a little back here vocally, sounding more like Shawn Colvin than Bonnie Raitt.
Babe Gurr is absolutely inspired on her cover of Ray Charles' Unchain My Heart. The song drips with soul and desire driven by Gurr's sultry voice. Larger Than Life frames a philosophy centered on taking life by the horns and having no regrets. It's a great Americana arrangement with real pop hooks. Make sure also to check out Understanding, a poignant look at inequality and the ultimate remedy. Other highlights include the title track, Chocolate Lilly, Now You're Gone and Break Thru.
Babe Gurr is the sort of talent who doesn't come along all that often, and her star is on the rise. Her music has already been tapped for the US television show Higher Ground, as well as being a guest on Canadian shows Canada AM and The Jim Byrnes Show. It's only a matter of time before Gurr's star rises above the Canadian Content Rule and she truly becomes an International artist. Chocolate Lilly is the clearest sign that she is ready, taking everything Gurr has done so well to this point in her career and raising her game another notch. It's an inspired performance.
Rating: 4.5 Stars (Out of 5)
You can learn more about Babe Gurr at http://www.babegurr.com/. You can purchase a copy of Chocolate Lilly at www.cdbaby.com/cd/babegurr3.
Friday, November 21, 2008
Review: Brian Kelly - Afterplay
Brian Kelly - Afterplay
2008, Skylight Music
Brian Kelly is a pianist and composer who trips lightly through the worlds of jazz, neo-classical and new age music. His early influences ranged from the likes of Beethoven to the Beatles, and these early influences continue to effect his compositional decisions even today. Kelly’s second CD, Afterplay, resides firmly in the contemporary jazz category. Supported by musicians such as Eric Crystal (Boz Scaggs, Omar Sosa); David Rokeach (Aretha Franklin, Ray Charles); Viviana Guzman and James Robinson, among others, Kelly has crafted a fine collection of contemporary popular jazz compositions.
Afterplay opens with River Rush, a modern piece that's almost more pop than jazz. The urgent melody line eats this song up somewhat in a downpour of themes. Smiling South is a Caribbean flavored piano tune full of big, catchy, ear-candy themes. New Vision is a light pop tune that incorporates Spanish Guitar, Latin rhythms and a funky bass line over a mellow piano bed. Snowflakes rising may be the highlight of the album, using what sounds like a dulcimer and piano mix in the opening to create an almost visual rhythm that's reminiscent of raindrops more than snow. Other highlights include the funky Flavor Seven; the title track Afterplay; Celtic Fire and Sunchaser.
Brian Kelly is a talented instrumentalist and composer. His brand of new age pop is catchy and comfortable without being cliché. This isn't elevator music but more the sort of upbeat mellow music that makes an environment or event more enjoyable and memorable. Brian Kelly has something to say, whispered just below hearing around the staves and measures he writes. Check out Afterplay, and listen.
Rating: 3.5 Stars (Out of 5)
You can learn more about Brian Kelly at http://www.briankelly.com/, where you can purchase Afterplay as either a hard copy CD or a download.
2008, Skylight Music
Brian Kelly is a pianist and composer who trips lightly through the worlds of jazz, neo-classical and new age music. His early influences ranged from the likes of Beethoven to the Beatles, and these early influences continue to effect his compositional decisions even today. Kelly’s second CD, Afterplay, resides firmly in the contemporary jazz category. Supported by musicians such as Eric Crystal (Boz Scaggs, Omar Sosa); David Rokeach (Aretha Franklin, Ray Charles); Viviana Guzman and James Robinson, among others, Kelly has crafted a fine collection of contemporary popular jazz compositions.
Afterplay opens with River Rush, a modern piece that's almost more pop than jazz. The urgent melody line eats this song up somewhat in a downpour of themes. Smiling South is a Caribbean flavored piano tune full of big, catchy, ear-candy themes. New Vision is a light pop tune that incorporates Spanish Guitar, Latin rhythms and a funky bass line over a mellow piano bed. Snowflakes rising may be the highlight of the album, using what sounds like a dulcimer and piano mix in the opening to create an almost visual rhythm that's reminiscent of raindrops more than snow. Other highlights include the funky Flavor Seven; the title track Afterplay; Celtic Fire and Sunchaser.
Brian Kelly is a talented instrumentalist and composer. His brand of new age pop is catchy and comfortable without being cliché. This isn't elevator music but more the sort of upbeat mellow music that makes an environment or event more enjoyable and memorable. Brian Kelly has something to say, whispered just below hearing around the staves and measures he writes. Check out Afterplay, and listen.
Rating: 3.5 Stars (Out of 5)
You can learn more about Brian Kelly at http://www.briankelly.com/, where you can purchase Afterplay as either a hard copy CD or a download.
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