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| The Moon, The Stars & The Setting Sun |
| Chuck Loeb |
első megjelenés éve: 1997
61 perc |
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| (1998)
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CD |
| 6.249 Ft
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| 1. | Just Us
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| 2. | Beneath The Light
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| 3. | Of The Moon
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| 4. | Hand In Hand
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| 5. | Don't Let Me Be Lonely Tonight
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| 6. | The Stars
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| 7. | Above Us
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| 8. | Shine On
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| 9. | While We Speak
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| 10. | Of Love And The Setting Sun
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| 11. | Water Runs Dry
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Jazz / Smooth Jazz
Jazz-Pop
Adult Contemporary
Crossover Jazz
Recorded: May-Oct 1997, Carriage House, Stamford, Connecticut
Chuck Loeb (guitar, keyboards, programming); Rob Mathes, Carmen Cuesta (vocals); Lawrence Feldman (flute, alto flute, tenor saxophone); Andy Snitzer (soprano saxophone, alto saxophone, tenor saxophone); Nelson Rangell (tenor saxophone); Larry Lunetta (trumpet, flugelhorn); Tony Kadleck (flugelhorn); Peter Gordon (French horn); Jim Pugh (tenor trombone, bass trombone); Jon Werking (piano, electric piano); Bob James (piano); Clifford Carter (organ); Mike Ricchiuti (keyboards); David Samuels (marimba); John Patitucci (double bass); Mel Brown, Will Lee, Tim Lefebvre (bass guitar); Wolfgang Haffner, Lionel Cordew (drums); David Charles (percussion)
Many smooth jazz artists view song titles as an afterthought, so it's refreshing to see guitarist Chuck Loeb play a romantic connect-the-dots with the names of the nine originals on The Moon, the Stars & the Setting Sun. Sure, it's a little corny to follow the sweet little tale strung together by ellipses (i.e. "...the stars...above us...shine on...while we speak...of love and the setting sun") but it gives us a glimpse into Loeb's mindset of this sharply played, generally laid-back project. Sometimes, the stroll is melancholy. Over floating synth washes, he generates a crying effect via lengthy acoustic notes, which are echoed by the subdued Sanborn-esque touches of Nelson Rangell (on the swaying James Taylor cover "Don't Let Me Be Lonely Tonight") and Andy Snitzer. Aware that listeners probably already know the sad lyrics, Loeb cries out over gentle synth drum beats on Boyz II Men's "Water Runs Dry." One of Loeb's trademarks is his ensemble-minded approach, and deferring to a lively two-minute Bob James keyboard solo on the Brazilian-flavored piece makes perfect sense; the disc offers the same sort of gently rhythmic flavors as a James-Earl Klugh collaboration.
---Jonathan Widran, allmusic |
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