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| 6.897 Ft
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| 1. | Ladies and Gentlemen, Presenting...
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| 2. | The Blackwidow Blues
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| 3. | I Know Why the Caged Bird Sings
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| 4. | Mona Lisas and Mad Hatters
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| 5. | Wonders and Signs
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| 6. | Ain't It Funny
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| 7. | Some Cow Fonique (More Tea, Vigar?)
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| 8. | Some Shit at 78 BPM (The Scratch Opera)
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| 9. | Hotter Than Hot
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| 10. | Breakfast at Denny's
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| 11. | Shoot the Piano Player
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| 12. | No Pain, No Gain
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| 13. | Sorry, Elton
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| 14. | ...And We Out
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| 15. | Breatfast at Denny's [Uptown Version][*]
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Jazz / Hip-Hop
Fusion
Buckshot LeFonque
Albert Collins - Guitar, Guitar (Acoustic)
Alexander Assefa - Vocals, Vocals (Background)
Blackheart - Producer, Programming, Vocals
Bobette Jamison-Harrison - Vocals (Background)
Branford Marsalis - Drum Programming, Producer, Sax (Alto), Sax (Soprano), Sax (Tenor)
Charles Morris - Drums
Chuck Findley - Trombone, Trumpet
Dar Jones
Darryl Jones - Bass, Bass (Electric)
David Barry - Guitar, Guitar (Acoustic)
Delfeayo Marsalis - Liner Notes, Piano, Trombone
DJ Premier - Beats, Drum Programming, Drums, Producer, Programming, Scratching
Fikre Asmamaw - Vocals, Vocals (Background)
Frank McComb - Vocals
Greg Phillinganes - Keyboards, Moog Bass
Jeff "Tain" Watts - Drums
Kenny Kirkland - Keyboards, Piano
Kevin Eubanks - Guitar, Guitar (Acoustic), Slide Guitar
Kim Edwards-Brown - Vocals (Background)
Larry Kimpel - Bass
Marsalis - Sax (Soprano), Sax (Tenor)
Matt Finders - Trombone
Maya Angelou - Vocals
Mino Cinelu - Percussion
Nils Lofgren - Guitar, Guitar (Acoustic)
Ray Fuller - Guitar, Guitar (Acoustic), Guitar (Rhythm)
Rob "Wacko" Hunter - Drums, Engineer, Mixing
Robert Hurst - Bass, Bass (Acoustic), Performer
Roy Hargrove - Trumpet
Serlewowgel Solomon - Vocals, Vocals (Background)
Uptown - Vocals
Vicki Randle - Percussion
Victor Wooten - Bass (Electric)
* Arnold Levine - Art Direction
* Benjamin Austin - Sampling, Sequencing
* Bernie Brundman - Mastering
* Bernie Grundman - Mastering
* Danny Clinch - Photography
* D'Jango - Technical Assistance
* Earl Martin - Assistant Engineer
* Jim De Barros - Design
* Kim Green - Cover Art, Cover Design
* Mark Endert - Assistant Engineer
* Patrick Smith - Engineer
* Peter Hunstein - Sampling, Sequencing
* Rev. Richard White - Design Assistant
* Simeon - Technical Assistance
* Steven Berkowitz - Executive Producer
* Thianar Gomis - Assistant Producer, Production Assistant
* Wynton II - Technical Assistance
Lots of records are touted as breakthroughs by the hype machines and spinmasters, but this one really is -- a marvelously playful and, above all, musical fusion of the old jazz verities and newer currents swirling around the 1990s. "Buckshot LeFonque" was a pseudonym for Cannonball Adderley in the 1950s, and you'll squint long and hard trying to find Branford's name on the jacket and cover except for the tiny note, "Produced by B. Marsalis." Maybe he was hedging his bets against the expected (and received) flak from the jazz purists, but the reality is that he has found a brilliant way to fuse hip-hop rhythms with mainstream jazz licks without compromising either idiom. The best number is a lovely setting of Maya Angelou's poem -"I Know Why the Caged Bird Sings," with absolutely gorgeous soprano by Marsalis, some great Miles-tinged muted trumpet from Roy Hargrove, and Angelou reciting her words against the big electronic backbeat. The free-thinking Branford also injects real funk into Elton John's "Mona Lisas (And Mad Hatters)"; throws in a little reggae, rap, and lots of sampling; gets down and dirty with Kevin Eubanks' slide guitar on the truckin' cut "Some Cow Fonque"; and unifies most of the package with a couple of recurring, catchy riffs and touches of horseplay. The only misfire is a totally incongruous, totally dull soul ballad called "Ain't It Funny" (sung by Tammy Townsend) that sounds as if someone suddenly switched CDs on your changer. Nevertheless, regardless of what the neo-boppers might say, this is a more imaginative record than any of Branford's estimable straight jazz projects -- and a lot more fun.
---Richard S. Ginell, All Music Guide
Buckshot LeFonque
Active Decade: '90s
Genre: Rock; Jazz
Styles: Hip-Hop, Fusion, Acid Jazz
When Branford Marsalis decided to stir up a little trouble in 1994 by juxtaposing and fusing mainstream jazz with hip-hop rhythms, rap, R&B, rock, reggae, and half a dozen other idioms, he chose to present his new music under the group name Buckshot LeFonque. This fanciful moniker is actually a resurrection of a pseudonym Cannonball Adderley used in the 1950s when moonlighting on a record label other than his own. The group's eponymous first album, a brilliant, playful, musically rich realization of this anything-goes fusion unfortunately drew a lot of fire from critics in every genre, a situation that Marsalis lamented on the group's equally eclectic yet less striking second album Music Evolution. Nevertheless, Marsalis was so enthused by his new group that he left his high-profile job as bandleader of the Tonight Show in part so that he could tour with Buckshot LeFonque in 1994-1995. The 1997 edition of Buckshot, as heard on Music Evolution, contains a nucleus of Marsalis (saxophones, keyboard, and drum programming), DJ Apollo ("wheels o' steel"), Frank McComb (vocals, keyboards), Carl Burnett (guitar), Russell Gunn (trumpet), Reginald Veal (bass), Rocky Bryant (drums), and 50 Styles: the Unknown Soldier (rap vocals). Of all of Marsalis' diverse pursuits, none project his unique combination of virtuosity and irreverence as completely as Buckshot LeFonque.
---Richard S. Ginell, All Music Guide |
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