  |
|
|
 |
| Destination Motherland - The Roy Ayers Anthology (2CD) |
| Roy Ayers |
| első megjelenés éve: 1989 |
|
| (2003)
|
|
2 x CD |
| 4.742 Ft
|
|
| 1. CD tartalma: |
| 1. | We Live In Brooklyn, Baby
|
| 2. | Coffy Is The Color
|
| 3. | Love From The Sun
|
| 4. | Sweet Tears
|
| 5. | Red, Black & Green
|
| 6. | Pretty Brown Skin
|
| 7. | The Boogie Back
|
| 8. | A Tear To A Smile
|
| 9. | Old One Two, The
|
| 10. | Life Is Just A Moment
Part 2
|
| 11. | Time And Space
|
| 12. | The Black Five
|
| 13. | Everybody Loves The Sunshine
|
| 14. | Memory, The
|
| 15. | Hey Uh What You Say Come On
|
| 16. | Running Away
|
| 17. | Searching
|
| 18. | Baby You Give Me A Feeling
|
| |
| 2. CD tartalma: |
| 1. | The Third Eye
|
| 2. | Everytime I See You
|
| 3. | Sweet Tears
Disco Version
|
| 4. | Can't You See Me
Original 12" Version
|
| 5. | No Deposits, No Returns
|
| 6. | Love Will Bring Us Back Together
|
| 7. | Fever
|
| 8. | What You Won't Do For Love
|
| 9. | Thank You Thank You
|
| 10. | Rock Your Roll
|
| 11. | Motherland Intro Africa , Centre Of The World
|
| 12. | Africa, Centre Of The World
|
| 13. | Destination Motherland
|
| 14. | Land Of Fruit And Honey
|
| 15. | Our Time Is Coming
|
Jazz / Jazz-Funk, Soul-Jazz, Fusion, Jazz-Pop
Recorded: 1971-1989
Roy Ayers (vocals, keyboards, vibraphone)
Johnny Chandler Compilation, Liner Notes
Keiron McGarry Mastering
Silvia Montello Project Coordinator
Zoe Roberts Research
Destination Motherland is a two-CD, 33-track compilation of Roy Ayers' classics from the Polydor years -- 1971-1981. Issued in the U.K., it replaces, in a sense, the retrospective Evolution: The Polydor Anthology issued in 1995 with a slightly bigger, more club-intense selection, as well as improved sound. Ayers was a politician of hip when it came to cultural mores and trends, and his tunes reflect his penchant for strutting and blurring the edges of jazz, funk, soul, and disco. He handpicked this set for Universal UK and as such, he tilts his choices toward the club set who rediscovered his work in the late 1990s. The jazzy grooves here bleed into tough disco, and silky R&B cuts into political funk and roll. While there isn't a dud in the whole lot, some of the true standouts are: "Running Away," "Searching," "Coffy Is the Color," "Red, Black and Green," "No Deposits, No Returns," "The Third Eye," "Sweet Tears [Disco Version]," "Africa, Center of the World," "Destination Motherland," "Fever"; a 12" mix of "Can't You See Me," and "Everybody Loves the Sunshine."
---Thom Jurek, AMG
Roy Ayers
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Sep 10, 1940 in Los Angeles, CA
Genre: Jazz
Styles: Instrumental Pop, Jazz-Funk, Soul-Jazz, Fusion, Jazz-Pop
Once one of the most visible and winning jazz vibraphonists of the 1960s, then an R&B bandleader in the 1970s and '80s, Roy Ayers' reputation s now that of one of the prophets of acid jazz, a man decades ahead of his time. A tune like 1972's "Move to Groove" by the Roy Ayers Ubiquity has a crackling backbeat that serves as the prototype for the shuffling hip-hop groove that became, shall we say, ubiquitous on acid jazz records; and his relaxed 1976 song "Everybody Loves the Sunshine" has been frequently sampled. Yet Ayers' own playing has always been rooted in hard bop: crisp, lyrical, rhythmically resilient. His own reaction to being canonized by the hip-hop crowd as the "Icon Man" is tempered with the detachment of a survivor in a rough business. "I'm having fun laughing with it," he has said. "I don't mind what they call me, that's what people do in this industry."
Growing up in a musical family -- his father played trombone, his mother taught him the piano -- the five-year-old Ayers was given a set of vibe mallets by Lionel Hampton, but didn't start on the instrument until he was 17. He got involved in the West Coast jazz scene in his early 20s, recording with Curtis Amy (1962), Jack Wilson (1963-1967), and the Gerald Wilson Orchestra (1965-1966); and playing with Teddy Edwards, Chico Hamilton, Hampton Hawes and Phineas Newborn. A session with Herbie Mann at the Lighthouse in Hermosa Beach led to a four-year gig with the versatile flutist (1966-1970), an experience that gave Ayers tremendous exposure and opened his ears to styles of music other than the bebop that he had grown up with.
After being featured prominently on Mann's hit Memphis Underground album and recording three solo albums for Atlantic under Mann's supervision, Ayers left the group in 1970 to form the Roy Ayers Ubiquity, which recorded several albums for Polydor and featured such players as Sonny Fortune, Billy Cobham, Omar Hakim, and Alphonse Mouzon. An R&B-jazz-rock band influenced by electric Miles Davis and the Herbie Hancock Sextet at first, the Ubiquity gradually shed its jazz component in favor of R&Bfunk and disco. Though Ayers' pop records were commercially successful, with several charted singles on the R&B charts for Polydor and Columbia, they became increasingly, perhaps correspondingly, devoid of musical interest.
In the 1980s, besides leading his bands and recording, Ayers collaborated with Nigerian musician Fela Anikulapo-Kuti, formed Uno Melodic Records, and produced and/or co-wrote several recordings for various artists. As the merger of hip-hop and jazz took hold in the early '90s, Ayers made a guest appearance on Guru's seminal Jazzmatazz album in 1993 and played at New York clubs with Guru and Donald Byrd. Though most of his solo records had been out of print for years, Verve issued a two-CD anthology of his work with Ubiquity and the first U.S. release of a live gig at the 1972 Montreux Jazz Festival; the latter finds the group playing excellent straight-ahead jazz, as well as jazz-rock and R&B.
---Richard S. Ginell, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
