PolyRhythm Moods
CD Reviews Archive

In The Spotlight...

Curtis Mayfield
New World Order

"The die has been cast and there's no need to fear,
Mother Earth's given birth to a brand new man.
We who are pure of heart some how might see,
there's still light in the world, come rejoice with me.
It's a new day....a new world order, a brand new day,
a change of mind for the human race.

--Curtis Mayfield--

From the opening track and title cut "New World Order," it is evident, it is crystal clear that Curtis Mayfield, poet laureate of song, prophet, philosopher king, social commentator/conscience of humanity, and one of the most relevant voices of the times is on the scene again with his own special kind of creative, hard-hitting, reality-checking compositions--and some great, humanity-filled, sensitive, compassionate words and music to reflect on...to live by.

Curtis Mayfield is a giant of an artist...an ultra creative being who has a gentle voice...an immense love of people, of humankind...an indomitable spirit, extraordinary ability to struggle, to overcome obstacles...a vast capability to inspire, lift up...a marvelous capacity for giving, caring and sharing...and a unique ability to see the bigger picture...a brighter picture. Curtis, who is keenly observant, is aware of problems...doesn't just talk...he also offers, suggests solutions as well: love and respect of self and others, commitment to loving, caring, helping and sharing.

Curtis who was the lead singer of the legendary Impressions, composed such classic tunes as "People Get Ready," "Moving On Up," "Keep On Pushing,"and "The Makings of You," created the sound track for the film Super Fly and has produced and recorded numerous albums. Curtis, who is highly respected by fellow creative artists, is joined on New World Order by none other than the "Queen of Soul," Miss Aretha Franklin, the mighty talented Miss Mavis Staples of the Staple Singers, rapsters extraordinaire Blaise Mayfield, Lisa Coates and Organized Noize, producer Narada Michael Walden, and Roger Mayfield.

From first track to last, this release is chocked full of powerful, poignant compositions that reflect the ills of the social order ("Here But I'm Gone," "The Got Dang Song") celebrate the human spirit and speak optimistically of the future. "Back to Living Again," which features Aretha ("Go head Mayfield") on lead vocals, and is nicely accented with a rap chorus, is a positive affirmation to keep on pushing...to live, grow--to look ahead, not back. And, as Curtis commentates in song, "Now is always the right time, with something positive in your mind. There's always something to pull you down, you just get back up and hold your ground."

"Just A Little Bit Of Love," is a magnificent gem of a song...is a powerful Curtis-style expression of love, a call to love...the power of love...the need for love...or as the lyrics say there's a need for love... "For our future, for the little boys and girls, we need to take the time to come together...so we can make it right for the people, and everyone around the world....Just a little bit of love to make it right. We got to come together, we got to come together....And if the sun shines your way, you will find love, cause love is the only way." This tune, a beautiful, super charged, raw, upbeat rap accented/propelled track which features rap masters Blaise Mayfield and Lisa Coates...makes you move, think... and feel the love emanating from Mr. Mayfield.

Curtis Mayfield and Smoky Robinson are two of the eminent poets of song...and writers of lyrics about love. And, New World Order is about love of people and romantic love. Curtis sings passionately, tenderly, sensitively and lovingly on "No One Knows," "It Was Love," "I Believe In You," and "Girl Stays On My Mind..."these are gorgeously romantic, Curtis.

The update of the 1970 tune, "We People Who Are Darker Than Blue," which is still as relevant and poignant today as it was twenty six years ago, "Let's Not Forget" and the last cut on the album, "Oh So Beautiful, are exquisitely wonderful life and love affirming compositions...that inspire that confirm that "This life we live is oh so beautiful, oh so beautiful. This love we give is oh so beautiful...Hey to reap the glory we must take inventory, and love everything in it, cause this is our planet."

Curtis Mayfield who is a quintessential creative artist...a lover of humanity...reaches out in song to touch, motivate, inspire us to love, share, care and do for the betterment of humankind. Curtis is a gifted, masterful creative being of the highest caliber.

Warner Brothers, 1996

In The Spotlight...

Charlie Hunter Quartet
Natty Dread

Many creative artists have paid homage to Mr. Robert Nesta Marley, Bob Marley, through music and song. Bob,the epitome, the icon was in the vanguard of World Music and global music. Bob was always exploring, reaching, learning and creating music that reflected and uplifted humanity. His music was historical, political, prophetic, philosophical...was warm--with appropriately appointed humor--sensitive and romantic. He was a poet laureate of song...in the fine tradition of such greats as Curtis Mayfield, Marvin Gaye, Stevie Wonder and Smokey Robinson.

The classic Natty Dread, when released in 1974, was Marley's break through release...and was the hit album that introduced reggae from Trench Town--Kingston, Jamaica--internationally...and propelled Bob into a top-ranking artist worldwide--one who embraced humanity and was embraced by humankind.

Charlie Hunter, an eight-string guitar playing virtuoso from Berkeley is one of the first artists to record a cover of Natty Dread. Hunter, talented guitarist with such fine releases as Bing, Bing, Bing! and Ready...Set...Shango under his belt... and member of the eXceptional generation...aptly aided and abetted by the talents of co-band members...Scott Amendola (drums), Calder Spanier (alto sax) and Kenny Brooks (tenor sax) has used his fertile imaginative, creative mind and musical talents to do some very refreshing takes on some of Bob Marley's timeless and time enduring classics that are found on Natty Dread.

The opening cut, "Lively Up Yourself," the original Trench Town rocker...is given a jazzy funk-in-the-hood (with hot saxy playing, some very nice groovy Groove Homes-esque Hammond B-3 organ complement and hip chorus of four sounds) take that is all the way live. "No Woman No Cry," one of Bob's most sensitive and romantic tunes, is strummed nicely and softly. It has an intro opening of "Tennessee Waltz" (shades of Les Paul) that introduces this beautiful piece nicely. Hunter's easy, laid back take on this classic can only be called unique, highly imaginative and inventive.

The quartet continues to explore the creative reaches of their minds, on their version of Marley's "Them Bellies Full." This deep piece--which has a sort of Big Band feel-- is given a a straight ahead Latin bop take that features a tasty sax solo and drum accompaniment. It is a definite mover and groover, as is Hunter's mellow version of "Rebel Music" which follows it. His whimsical take on the title cut "Natty Dread" creates a breezy, sun splashed island beach feel.

Charlie Hunter is quite capable at blending --weaving and synthesizing sounds that include jazz, blues, hip hop, rock, country, soul, and much more. And, Natty Dread exemplifies Hunter's ability to render wonderful mellow jazz treatments..as well as skanking, rocking reggae deliveries--with fresh jazzy angles.

The Charlie Hunter Quartet's rendering of Natty Dread, demonstrates these talented artists' creative ability, flexibility, dedication...and their quest to add to it--to give it another dimension--to take it to another level...while maintaining its marvelous inherent excellence.

Blue Note, 1996

In The Spotlight...

Incognito
Beneath The Surface

In this day and time the powerful 70s and 80s soulful Rhythm and Blues sounds of such groups as Earth, Wind & Fire, The Ojays, LTD, The Spinners, Harold Melvin & The Blue Notes and other exponents of the "Philly Sound"...Lady Soul, Aretha Franklin...poet laureates of song, notably Curtis Mayfield and Smoky Robinson, Maurice White...and groups with mighty rhythm and horn sections like Tower of Power--except for radio stations that specialize in playing these jams--for the most part they seem to be a thing of the past--but not totally. Incognito is keeping the flames burning very high and very bright with its own brand of quality, funk, jazz, soul and R & B sounds.

Founder, and guiding light of the group since the early 80s, Jean-Paul "Bluey" Maunick has created this special hybrid of music on albums that include Inside Life, Tribes, Vibes and Scribes, Positivity, and 100 Degrees And Rising. However, what is remarkable is the fact that the popular exponents of these funky/jazzy /R &B/soul revelations are not from Chicago, Philly, Memphis, San Francisco, or Los Angeles....but are from across the Atlantic.

On the group's latest release Beneath The Surface, Maunick is on guitar and vocals, and versatile, exceptionally talented Maysa Leak who has fashioned a successful solo career of her own, is back out front on many of the vocals. And collectively the talented group of players that make up Incognito have created another masterful serving of some tasty original sounds--sounds that are fresh and new...but are still true to the tradition of soulful/jazzy tunes---tunes that definitely jam.

From the first hard-hitting soulful ballad, "Labor Of Love," to the last...the album is jam packed with good listening selections that fit and fill many moods. The second cut, the sensitive, softly sung song, "A Shade Of Blue"-- beautifully showcases Maysa's gracious sound, and her ability to complement the band like a glove fits a hand. This tune and the entire album reflects the essence of the release--one of heartening positive, love songs...and compositions that responsibly reflect and have as their theme global love, and of for caring for needs of the individual and for the collective needs of humanity.

Deeply soulful pieces like "Labour Of Love" that features Christopher Ballin on lead vocals, the funk-based, upbeat tune "Hold On To Me," "Without You," and "Misunderstood" are honest, passionate, love songs. Movers like "Living Against The River " and "Out Of The Storm" reflect what Maunick, seated next to a homeless person in a photo on the album cover, so aptly states in the liner notes: "At election time promises are made and soon forgotten. Food and a roof over our heads--things we take for granted. Let's not rely on the promises. With a little more love and attention, let's bring on the changes."

Beneath The Surface leaves little doubt as to why Incognito is one of the finest purveyor's of funky, soulful R & B/jazz inspired sounds today...and why the artists that make up this premiere group are and have been far out front as leading practitioners of the fusion of some righteously soulful music. And, fortunately, there seems to be no stopping them as they trailblaze a direction that will insure that this fine music continues into the next millennium.

Talking Loud/Verve Forecast, 1997

In The Spotlight...

Eddie Harris
The Last Concert

Eddie Harris was one of those rare creative forces that defied categories and critics. Eddie played what he liked and enjoyed--and he did so adeptly and creatively and receptively for millions of fans globally, for over forty years. Eddie Harris was quite capable of playing straight ahead jazz, soul, R &B, and rock. And, his music was well received--was ever popular. And probably because it was not easy to "peg" or label his music, he did not receive the acclaim and respect that he should have.

Eddie's first big release the single "Exodus" from the album Exodus To Jazz, sold over two million copies. But during his career he made scores of solo albums and joint projects with other musicians. One of the most notable collaborations was with pianist Les McCann. The two's live recording Swiss Movement," was a huge success. Eddie's classic composition, "Freedom Jazz Dance, that was recorded by Miles Davis on "Miles Smiles" has become a standard favorite. Eddie also worked with such legendary artists as Ron Carter, Cedar Walton, Steve Winwood, and Jeff Beck.

Chicago born Eddie Harris was a multi-talented, multi-instrumentalist. He pioneered the use of the electric tenor sax long before the use of electric instruments were widely used, and experimented with a variety of instruments. It is apparent that Eddie Harris felt secure---felt good about what he did and did not let things that were said about him get him down. His style of playing and adeptness at playing funky soul earned him the nickname the "Funk Godfather."

Eddie also seemed to have a very good sense of humor that also served as an outlet and an expressive way of maintaining his perspective about himself and his music. It seems he always tried to include selections on his albums that made people feel good--and have a bit of fun. In response to critics who did not know who he was, in 1986 he record a song entitled "Eddie Who." Earlier he recorded an album, That's Why You're Over Weight" that has some funny but true lyrics about over eating.

Eddie Harris was a perennial favorite at jazz festivals ranging from the Berkeley Jazz Festival and other American fests to global ones such as Montreux. The popularity he had and the enormous number of records he sold that attested to his talents, Harris should have definitely been afforded much deserved accolades, and which he received in abundance outside of the U.S.

Eddie Harris' release The Last Concert, recorded live in Cologne, Germany in March of 1996, and the last cut on the album was recorded there March 15, 1996, showcases this giant's versatile talents. In addition to performing and recording his own album, Eddie also appeared on drummer Bernard Purdie's and vice versa. He is joined on this date by such world class artists as Haywood J. Gregory (vocals), Nils Landgren (trombone), Bernard Purdie (drums), the WDR Big Band (pictured lower right with Harris), Dave King, Dean Brown, and Gil Golstein arranger and conductor of the WDR.

The eight selections on The Last Concert wonderfully demonstrate Eddie's versatility, flexibility, and artistic ingenuity. Eddie renders fine, straight ahead jazz versions of the traditional African American spiritual, "Wade In The Water," and of Lee Morgan's, Bobby Timmons' and Nat Adderley's classic greats, "The Sidewinder," "Moaning" and the "Work Song," respectively.

Harris' recreation of his standard composition, "Freedom Jazz Dance," showed how well this classic which has stood the test of time, could be played in such a way that its integrity was maintained, and at the same time could be enhanced by the take, the version--the contemporary expression and interpretation--it was being given by the composer and the other musicians on the date.

Vocalist Haywood J. Gregory, who has two tons of talent, is featured on two vocals on the release. Gregory, gives a first-rate performance on the funky soul hit, "When A Man Loves A Woman" and Stevie Windwood's rocking rocker, "Jam Some Lovin." The third vocal, and the last cut on the album is sung by Eddie Harris. Eddie, accompanied by Gil Golstein on piano, gives a powerful, touching, sentimental, 14-minute version of his beautiful ballad "You Stole My Heart."

The Last Concert is a testament to Eddie Harris' monumental talent. It highlights the creativity of the artist, who was an astute, versatile musician who was an innovator, pioneer...one who indeed went experimentally in music where, at the time, where few musicians had gone. Eddie, was a true originator and innovator who played music that cut across genres and defied categorization. Eddie Harris gave music lovers and music makers a fine legacy... a fine body of work, some of which has, and all of which will, marvelously endure the test of time.

ACT Records, 1997

In The Spotlight...

Phyllis Hyman
I Refuse To Be Lonely

"The sound of her voice really grabbed my attention. My first thought was, here is a a young lady with a great instrument....Phyllis' voice would take you right out there on the clouds and float on the soft bed and soar with the wind....She was a rare beauty, and in my estimation, one of the great voices of our time, along with being multi-talented."

--Nancy Wilson--

Phyllis was that sort of rare and gifted performer...the epitome of class...a charming very hip, sophisticated popular rhythm and jazz diva with ultra poise and polish ...a fabulous stage presence and savvy...a super extraordinary talent.

Phyllis was a top, A-One performer--bandstand and theatre stage--with an exceptional, multi-vocal artistry...that was out of this world. Whether she was performing in her own right, or with talents the likes of Pharaoh Saunders or Norman Connors, who along with many other stellar musicians, esteemed her in the highest, Phyllis always lent a lot of something extra special to the songs she sang. Her voice really did sound like a finely tuned instrument...a vocal Stradivarius. And, when she sang effortlessly, magically, entrancingly, one could close their eyes and cruise among the clouds and soar to the highest heights.

On the release I Refuse To Be Lonely, Phyllis was indeed in singularly fine form. Each work on this album sounds as if it were a carefully selected jewel that like a diamond cutter, she carefully and artistically created, shaped and polished into an exquisite gem. From the first cut to the last she displays the sort of vocal and lyrical mastery that a maestro that conducts a symphony orchestra does.

Phyllis's vocal and composing artistry is teamed up with the legendary duo Kenneth Gamble And Leon A. Huff, whose names have long been associated with the "Philly Sound" and their company Philadelphia International Records. They have been well respected for their fine writing and producing skills and are well respected for their creative excellence. Keyboardist Dexter Wanzel's composing and performing skills are heard on "I'm Truly Yours" (co-writer with Phyllis and Kenneth Huff) and on "I'm Calling You" (keyboards).

On the opening title cut, and on every tune on the album, Phyllis' voice is exuberant and full of vitality...she is in total creative and vocal command. She performs the hip, upbeat, rhythmic "shooting from the hips" renderings of "On I Refuse To Be Lonely" and "Gotta Get Back To Paradise. She sings the bouncy "Waiting For The Last Tear" passionately, energetically and with strong conviction.

Her vocal and lyrical integrity shines brightly on tunes such as the poignant, questioning "Why Not Me?" and the bold, assertive "Give Me One Reason To Stay. On the gospel-tinged "This Too Shall Pass, ("...If You Believe You Will Be Free") as well the others selections on this date, she sings of possibilities and of taking control of one's being.

On I Refuse To Be Lonely," Phyllis a beautiful, gracious, brightly, shining star...a creative super nova that soared like a comet to the highest creative heights and had a very high standard of artistic excellence, gave us a wonderful gift, and left a marvelous legacy....Thank you Phyllis.

Philadelphia International Records, Zoo Entertainment, 1995

In The Spotlight...

The Roots Of Rock: 1945-1956...
R & B: Shaking, Rattling & Rolling

In the mid 1940s some of the vocal stars of jazz, especially some of the those who had worked with big bands, started making the transition to a form of music that was known in the music business as Rhythm and Blues. However, as it had been with the terms "jazz" and "bebop," the blacks artists who made the music did not originally call it anything but good music. The music was transfused and infused with jazz, gospel, and blues. The release The Roots Of Rock: 1945-1956 features some of the R & B greats who were forerunners, who blazed the trail for other genres: rock, soul to name a few. It also influenced pop.

Singers like Louis Jordan, a singer and alto saxophone player, had been in Chick Webb's band, where he sang with grand jazz diva Ella Fitzgerald. Jordan was one of the first vocalists to gain success in the 40s when he released hot, rhythmic tunes like "Caldonia," "Saturday Night Fish Fry" and "Ain't Nobody Here But Us Chickens," which were all big R & B hits.

Often the vocalists who worked with the big jazz bands cited their ability to make transitions into careers as solo artists had a lot to do with the musical training/polishing and showmanship/entertainmentship they had gotten working with the bands. "Big" Joe Turner was another who successfully made the transition. Turner who had big R & B hits with such tunes as "Shake, Rattle And Roll," "Corinne Corina and "Honey Hush" in the 50s, sang with the Count Basie Band in Kansas City, Missouri in the 1930s.

During this period, as has often the case when there have been great new creative directions and movements in jazz, the early days of R & B were days in which singers and musicians were experimenting and trying different ways of playing and singing the music they knew and loved. And this music they now created...this soul and soul satisfying music...featured driving rhythms, blaring horns, pulsating drumming, hot, hot guitar licks, rocking boogie woogie piano...and powerfully energetic vocals. More important, other genres of black music--jazz, blues, and gospel (although many in the black community did not accept the inclusion of spiritual music in the mix)--that were synthesized in R & B, not only became popular to listen to, but were also irresistible to dance to.

The roots, or different influences of the other forms were heard in a range of new artists that had come on the scene. Ruth Brown, one of the reigning R & B divas of the 1950s, who was known as "Miss Rhythm," had a big hit on the charts with "Mama He Treats Your Daughter Mean," which was a an upbeat, bluesy tune that featured blues guitar and piano accompaniment. Big Mama Willie Mae Thorton's recording of "Hound Dog," which was popular with black audiences, was later a tremendous, money-making hit for Elvis Presley. Mama Thorton's release featured the big band sound of Johnny Otis. Johnny who also had a great jazz career is now a resident of the San Francisco area.

Antoine "Fats" Domino (left), who had a maiden vVoyage hit with "The Fat Man," was an exponent of the rocking and rolling New Orleans boogie woogie sound. Fats is still very much a part of "The Big O" sound today. "Brother" Ray Charles brought it all together. Ray is a stellar artist, and a big band leader who is equally adept at performing jazz, blues and gospel. His sound is a synthesis of all of these forms of black music (and country music as well). He had the extraordinary ability and dedication to respecting and maintaining the integrity of all of the forms of music he performs, as is witnessed by his early 50s hit, "Hallelujah I Love Her So."

The Roots Of Rock: 1945-1956 nicely chronicles andshowcasessome of the finest creative talents of the early days of Rhythm & Blues...luminaries whose influence and contributions are still affecting music and musical artists today.

Time-Life/Warner Communications, 1989

In The Spotlight...

Maxwell
Maxwell's Hang Suite

"Maxwell's music is complex, borrowing a sophisticated melodic
grammar from jazz and a straight, swing beat from early 80s soul....
Judging by current R & B standards, his music is totally old-fashioned:
it's about the search for one woman, not many."

- Maxwell's Hang Suite -

Maxwell's Hang Suite, is the Maiden Voyage release, the debut album by a young artist who is comfortable synthesizing, working in several genres, several eras... in soul, jazz funk, Rhythm and Blues...and creating what in essence is a romantic, thematic work that is reminiscent of Marvin Gaye's sexy concept albums such as Let's Get It On and I Want You ...and Maxwell sings with the same type of lyrical, vocal sensuality that Marvin sang. The CD also has the funky bass, drum, guitar qualities of the 1970s and 1980s--of the Ohio Players, James Brown, The Moments, The Manhattans, and the Whispers--of the romantic balladeers.

And the similarities don't end there. The release features the talents of such musical instrumentalists as Stuart Matthewman who has work extensively with Sade. It features the creativity of Leon Ware who wrote some of the oh so very sexy tunes on Marvin Gaye's album "I Want You." And, it includes the hot, rhythmic licks of famed guitarist "Wah Wah" Jackson-- a much sought after musician who has worked on many recording dates and has added "a lot of bottom" to many soulful releases over the years.

Maxwell's Hang Suite, is similar to a contemporary "Romeo and Juliet" love affair. The album is based on a true story. Maxwell uses his talents to recreate his tale and gives it a cool, hip mood, setting and the feel of an old-fashioned, romantic love affair--and in sodoing takes one musically through the stages of the courtship. The Suite is an audio soundtrack that allows the imagination to take a vivid, funk-filled, fanciful flight in a lush, rhythmic, silky, silky soulful soundscape.

The setting for the album could be a night club or a house party. The release opens with "Welcome" where the two meet, and moves into the "let's get to know each other better" stage on "Sumptin, Sumptin," into a deeper rhythmic, upbeat piece "Ascension," where both realize their feelings for each other, to the cut the superficial rap phase, because it is time to get real about how they feel. The album goes through the blissful, hot, spicy, steamy relationship on "Dancetime, "Til The Cops Come Knockin,'" "Whenever, Wherever, Whateve,r" to the loneliness of separation on "Lonely's The Only Company," to a joyful getting back together on "Reunion", to the "I love you madly my sweet" tune "Suite Lady"...and to the end of the relationship on "The Suite Theme."

Maxwell's Hang Suite nicely showcases the creative writing and vocal abilities of Maxwell...a young artist whose Maiden Voyage release demonstrates that he is definitely a rising star...one who has a heads -up winning sound.

Columbia, 1996

In The Spotlight...

Maraca Y Otra Vision
Havana Calling

For many years some of the finest Latin jazz talents have come from Cuba. These talented musicians, have a love for jazz and, often drawing from Afro-Cuban folklore and African cultural and musical heritage have contributed to its creativity, inventiveness, innovativeness and diversity.

Orlando "Maraca" Valle (flutist/pianist) is one of those young Cuban artists who is a seasoned jazz musician....a veteran in terms of the extensive experience he has. Maraca was a member of the world renowned Cuban group Irakere (who appeared in the Bay Area recently) for six years and traveled and performed with them at festivals and club dates around the globe. He went out on his own in 1994, and in 1995 his first release Formula Uno received the award for best Latin jazz record of the year. He is an accomplished writer and arranger who has also worked with American jazz musicians Roy Hargrove and Steve Coleman.

Havana Calling, Valle's first recording with his own group Otra Vision, showcases the talents of some fine musicians...including ten year old percussionist Julien Oviedo, Celine Valle (flute), Jesus Alfonso, Juan Carlos "El Pepe" Rojas and Miguel "Anga" Diaz (percussion), Yan Carlos Artime (piano), and Oscar Rodriguez (bass). The special guests on the date, Los Munequitos de Matanzas ( who were a smashing success when they performed here this past summer) are the creators of the popular Cuban BataRumba.

Selections on this release include "Monte Adentro," a smooth, fluid piece that features a fine complementary blending of percussion and flute, "Bolivia,"written by Cedar Walton is an upbeat, rhythmic conga/voice driven, call and response interplay with the horn section, and "La Vela" a sentimental vocal--a danceable piece nicely accented by backing vocals. "Manamana," which features Los Munequitos De Manzanas, is a slow opening vocal (Israel Berriel) percussion/flute led instrumental piece that pays homage to Shango. It segueways nicely into a moving instrumental interlude led by trumpeter Alexander Brown.

Orlando "Maraca" Valle and Otra Vision's first release, Havana Calling, is an outstanding work by a group of talented, accomplished young musicians who are top notch exponents of the finest Latin and Afro Cuban jazz...bar none.

QBADisc, 1996

In The Spotlight...

Bernard Purdie's
Soul To Jazz

Colleagues describe the drummer's style as the
"funkiest soul beat" in the business, and Purdie
has decidedly never limited his talents to the realm
of jazz but rather has consistently sought out new
musical experiences beyond its borders."

- Soul To Jazz -

James Brown has been called the hardest working man in show business. In that case Bernard "Pretty" Purdie can be called one of the hardest working and most sought after drummers, and James Brown would definitely say aAmen to bestowing this title upon Purdie. Pretty Purdie's resume reads like the Who's Who's of funky soul, jazz, rock...and beyond. He has worked with such luminaries as Aretha Franklin, Isaac Hayes, Steely Dan, James Brown, Joe Cocker, Miles Davis, Cat Stevens, and Herbie Mann.

On the release Soul To Jazz Purdie has assembled a group of musicians who have some outstanding credentials also. The ensemble includes the venerable Eddie Harris, the great, versatile sax funk master, Gil Goldstein (director), Michael and Randy Brecker (trumpet and flugel horn), Nils Landgren (trombone), and Martin Moss (vocals). Purdie is backed by the world renowned WDR Big Band.

Soul To Jazz is a stroll down memory lane, a tour de force of some of the great soul, R & B and jazz sounds of the 60s and 70s, created by a host of musical artists that includes Stevie Wonder, Nat Adderly, Oscar Brown, Lee Morgan, Horace Silver, Bobby Timmons, and Steve Winwood.

The album is full of good, easy listening, top tapping, nostalgic pieces, and it is a good introduction to a variety of fine music, of tunes that have become classics. Through the manner in which the two genres, soul and jazz, alternate on the release, one can see thematically how the compositions often reflect socially and creatively what was happening during the 60s and 70s.

"Superstition," which features vocalist Martin Moss showcases the talents of Stevie Wonder who was and is one of the most prolific composers of all times. "When A Man Loves A Woman" which was originally sung by Percy Sledge, has become a favorite standard soul ballad. "Senior Blue" by Horace Silver, "Freedom Jazz Dance" by Eddie Harris, "Moanin" by Bobby Timmons, and "Sidewinder" by Lee Morgan are representative of some of the best straight ahead jazz of this era. "Brother Where Are You? " written by Oscar Brown, Jr., "Work Song, with music created by Nat Adderly and lyrics written by Oscar Brown, relate what was happening socially. "Land of 1,000 Dances," which was a big hit for Wilson Picket and "Gimme Some Loving" that was the creation of Steve Winwood, are good representations of the soul and rock dance music.

Bernard Purdie and the fine cast of musical players on Soul To Jazz serve up some tasty sounds that are wonderful renderings of some of the best in soul, r & b and jazz, and you can dance to it too.

ACT Music, 1996

In The Spotlight...

Carlos Santana
Spirits Dancing In The Flesh

"...In today's tempo, people depend too much on money, food and gasoline. This musical statement is a bridge to remind you of that inner fuel (spirit) that will take you to your final destination."
Let there be light, let there be joy, let there be love and understanding, let there be peace throughout the land."
Let's work together in harmony, let's build a world, no suffering."

--Carlos Santana--

Carlos Santana is a master, global creative genius, artist extraordinaire. Carlos, a quintessential talent, guitarist par excellence, celebrates life, love, humanity, the human spirit, beauty, art, global peace...and he motivates, exhorts us to work to bring about global peace and freedom.

To some the name Santana brings to mind super star rock guitar player. And, to many it conjures up in the mind vision ../images of a renaissance man of the arts, man of the people, for the people, bridge builder, universal consciousness, a high spiritual presence, a one-of-a-kind artist and member of the global family of humankind. Carlos' anthem is one of peace, love, joy, freedom, harmony and understanding.

Carlos Santana is an exuberant spirit who has been making positive contributions to many genres of music, jazz, blues, rock, world music, for over three decades. Carlos is a well respected creative being and he respects and celebrates the work of other artists, and collaborates with them on ultra artistic creations.

The talent Santana has worked with reads like a veritable Who's Who of the creative sphere and includes Babtunde Olatunji, John McLaughlin, Alice Coltrane, B.B King, Francisco Aguabella, Buddy Guy, John Lee Hooker, Weather Report, Wayne Shorter, Tramaine Hawkins, Bobby Womack, Alphonso Johnson, Larry Graham, Vernon Reid, and Ottmar Liebert.

Carlos has recorded the works of diverse artists...John Coltrane ("Naima"), Olatunji ("Jingoloba," "Se Eni A Fe L'Amo-Kere Kere") Curtis Mayfield ("Gypsy Woman"), The Isley Brothers ("Who's That Lady"), Joe Zawinul ("In A Silent Way"), and Jimi Hendrix/John Coltrane/Carlos Santana, respectively ("Peace On Earth, Mother Earth, Third Stone From The Sun"), to name but a few.

Just as he expresses his appreciation for the work of other musical talent and the creative enjoyment of working with other creative artists, he also expresses his appreciation to historical humanitarians, champions of global peace, freedom and humanity: Caesar Chavez, whom he dedicates Spirits Dancing In The Flesh to, Martin Luther King, Mahatma Ghandi, to nations struggling to attain freedom: South Africa ("Soweto Libre"), El Salvador, and other creative legends whose spirits give us reason to dance and shout: John Coltrane, Charles Mingus, Mahalia Jackson, and Charlie Christian.

Spirits Dancing In The Flesh is an additional chapter in Carlos Santana's testament to and celebration of the indomitable human spirit. It is a positive affirmation by an exceptionally rare spiritual and creative being who advocates love and peace...speaks to the realities, possibilities and potential in each of us, and speaks of working for a better way, a better day, a better world.

Columbia Records, 1990

In The Spotlight..

Tina Turner
Tina Live In Europe

Tina Turner is an incredibly talented creative artist...with an indomitable spirit. She is Alluring. She is Electric Excitement, Sophistication and Class, Spirit and Effervescence.
Tina's positive energy, zest for life, love of her craft and her sheer creative genius have enabled her to grow an artist and her career to flourish for over four decades. And yes, her talent and professionalism have everything to do with it.

Tina a forward thinking, straight ahead artist turned negative experiences into a super success story and life. And, she has won the respect, admiration and camaraderie of such fellow legendary performers as Robert Cray, Eric Clapton, and David Bowie, all of whom perform on Tina Live In Europe with her, plus the Rolling Stones and so many more.

Tina excels as a singer, composer, choreographer. On the Tina Live In Europe release she offers a masterful performance. She seductively and alluringly sings a repertoire of songs that she had made famous. In the live stage tour, which was taped and that aired on television, including on the Public Broadcasting System in America, Tina sings, dramatizes and captivates audiences throughout Europe with such selections as "Addicted to Love," "Private Dancer," "Let's Stay Together," and "Better Be Good To Me."

She brings audiences to their feet and has them dancing in the aisles on such favorites as "Land of 1,000 Dances," "Proud Mary," "Nutbush City Limits," and "In The Midnight Hour." When she teams up with Robert Cray, Eric Clapton and David Bowie on "A Change Is Gonna Come," "Tearing Us Apart" and "Tonight," the talented artists hold audiences under their captive spell.

Tina Turner, a gorgeous, timeless, rare talent is rightfully reaping the harvest of a bountiful harvest that she worked very hard for and overcame what for many would be almost insurmountable odds to achieve. There has been a successful movie made about her life and marriage to Ike Turner and she has received numerous musical awards and accolades, including an Achievement award from Essence Magazine. And, Tina is an inspiration to many globally. Tina Turner is living proof that love, intelligence, talent, perseverance, beauty, charm and respect...have everything to do with it.

Capitol Records, 1988

In The Spotlight...

Tracy Chapman
New Beginning

Tracy Chapman is gifted creative artist. Tracy's social activism is manifested through her presence, her music and song. She is a prolific writer, composer and musician who upholds and carries on the tradition of such fine, relevant folk singers as Odetta, Ledbelly, Pete Seeger, Josh White, Joan Baez, and Bob Dylan with contemporary renderings that reflect, voice and challenge us individually and collectively.

The Cincinnati, Ohio native has garnered three Grammy Awards, since she first graced the music world with her presence in 1988 with her first album, "Tracy Chapman," which sold over 10 million copies globally and contained the now classic tune "Fast Car." Tracy's profound musical creations, which are filled with great vision, insight, concern, commitment and compassion, and the words she speaks though song are universal in scope and application.

After not being on the music scene for a few years, Tracy has resoundingly proclaimed her return with a powerful release, New Beginning, which is packed full of fresh, poignant, highly focused and polished compositions. As care is given to seeds sown in a garden, each selection on the release sounds as if it were meticulously planted, cared for, nurtured and gathered just at the peak of ripeness, at the peak of perfection.

On the opening cut, "Heaven's Here On Earth," which has a Middle Eastern sound and features the tamboura, Tracy gives an invitation to all to celebrate and appreciate each other and the beauty and bounty that are here on earth because "Heaven's in our hearts, in our faith in humankind, in our respect for what is earthly...In our unfaltering belief in peace and love and understanding."

On the title composition, "New Beginning" a piece that has a pulsating, rhythmic drum backing, rather than lamenting about how bad things are Chapman powerfully and positively voices her belief that we can and must come together, to start over, to change things for the better, and asserts that "We can learn, we can teach, we can share, we can do better. It's time to start all over and make a new beginning."

"Smoke And Ashes" is a bold, bluesy, folksy song about the love of a woman with a "red-hot heart for a man whose "Light and heart have been spent leaving only smoke and ashes." "At This Time In My Life" and "The Promise" are tender, moving, soul-searching revelations/reflections on one's life and the need for honesty in relationships/in life, the need for love and commitment--and they are expressions of love.

The compelling selection "Rape Of The World" is an expose, revelation, witness, testimony about how we are destroying, raping our earth mother, the place of our birth and our life source. It is a plea for us, the children, the offspring of mother earth. It is a call to action that says, "If you care you will stand and testify, and stop and stop the rape of the world."

"Tell It Like It Is" is a forceful, upbeat rhythm mover that challenges us to act to speak out, voice what is not right, rather than sugar coat things. It is an invitation to, as the words of a Nina Simone song says, "Break down and let it all out." "Give Me One Reason," which has a nice blues guitar accompaniment, definitely reflects the blues of a woman who says baby I don't wanna go, so give me a reason, a sign that'll make me wanna stay, cause "I'm to old to go chasing around. I don't want to leave you lonely, but you've got to make me change my mind. I told you I love you and there ain't no more to say."

On "I'm Ready" Tracy says, "I want to know where I'm going, I want to go where the rivers are over flowing." On New Beginning Tracy Chapman sounds very much like she knows where she is going and creatively, artistically and humanistically she is showing us the way.

Elektra, 1995

In The Spotlight...

Freddie Ravel
Sol to Soul

Multi-talented pianist/keyboardist Freddie Ravel's new release Sol to Soul displays this creative artist's virtuosity. Ravel, a busy L. A. based artist, music director and keyboard player for Earth, Wind and Fire, has a resume that includes work with many music greats, including Tony Bennett, Quincy Jones, Sergio Mendes, James Ingram, George Howard, Dori Caymmi, and The Rippingtons. Sol to Sol, produced by Earth, Wind and Fire's Maurice White, also includes some super players: Maurice White (vocals), Luis Conte (percussion), The Bay Area's own Ricardo Silveira (guitar), Jimmy Earl (bass), The In & Out Horns, Tris Imboden (drums), Alphonso Johnson (bass), E, W & F's Verdine White (bass), and Walfredo Reyes (drums). But there's only one way to really check out Sol to Soul, and that is to listen, groove and enjoy the music. And, as you do s this is how it'll make you feel:

Sol to Soul--Hot cha cha. This hot and spicy title cut is a real rhythm blaster.

Havana Nights-Catch your breath, then get back on the dance floor one more time for this salsa caliente groover and do some quick moves and fast turns to some jamming drumming...and then cool down a taste with moody muted horns.

We Belong Together--Ummm. Nice vocal change for a little slow dancing cheek to cheek with the one you love. Nice, tightly orchestrated arrangement.

Erotika--Freddie stretches out on this romantic, catchy tune that has an infectious melody. It spotlights Mr. Ravel's piano virtuosity amidst a backdrop of tasty vocals.

A Perfect Day--Beautiful, free spirited upbeat cut that has a definite Maurice White and E, W & F flavor, especially the backing vocals, piano styling and percussitivity. I like it.

Slip Into The Gap--This piece has a mystical, uplifting, spiritual, celestial, freedom/space mood setting quality...and some vocals and lyrics that create a mellow mind musing feeling.

Sailaway (Navigado Sin Rumbo)--Pretty, pretty piano piece that allows sweet feelings and thoughts to float effortlessly on each note. The horn solo has a taste of spiciness (a "Europa," "Last Tango in Paris" mood set). Real nice piano/horn juxtaposing...si, si, si.

Quadate Conmigo (Stay With Me)-Break out on the dance floor again for some hot, fast steps, spins...then cool down with some tasty, cool vocal styling...suavecito...aha, aha.

Dance for Sol--Pianissimo. A great piano solo with nicely syncopated percussive blends and nice vocal backing accent, a real can't sit down rhythm jam.

('Til I Get) Over You--Sultry vocal rendering that would be a great mood setter for a candlelit table for two at Le Jazz Bistro.

Mambozique--Shall we cha, cha? Mambo, si? Yes. In the center of the dance floor is where you'll be as the crowd takes to the sidelines to watch you do some hot steps, turns, or maybe a mean mambo. Mambozique contigo, si.

Passion Dance--Beautifully orchestrated piano piece that you could sit and move your feet, shoulders, and hands to...but I betcha can't sit down. I know you'll be back up on the floor moving and grooving one more time.

In A Sentimental Mood-Oh yes. Freddie induces a very nice mood with his take on this classic.   He tickles the ivories and skillfully tickles the soul...in a sentimental way.

Verve Forecast, 1996