  |
|
|
 |
|
CD |
Kérjen
árajánlatot! |
|
| 1. | Truth, Justice & The Blues
|
| 2. | Self-Esteem
|
| 3. | For Old Times Sake
|
| 4. | Yes, Yes, Oh Yes!
|
| 5. | For All Intensive Purposes
|
| 6. | On His Word
|
| 7. | Take Time for Love
|
| 8. | You're My Alter Ego
|
| 9. | J's Rhythm Song
|
| 10. | Just a Feelin'
|
| 11. | Be Real Special
|
James Williams - Arranger, Piano, Producer
James Williams & ICU
Bill Pierce - Sax (Soprano), Sax (Tenor)
Christian McBride - Bass
John Lockwood - Bass
Miles Griffith - Vocals
Roger Holland - Vocals
Steve Kroon - Percussion
Steve Wilson - Sax (Alto), Sax (Soprano)
Tony Reedus - Drums
Yoron Israel - Drums
* Bob Blumenthal - Liner Notes
* Edward VanLandeghem - Mastering, Pre-Mastering
* Jerry Gordon - Executive Producer
* Jim Anderson - Engineer
* Jimmy Katz - Photography
* R. Andrew Lepley - Photography
Truth, Justice and the Blues was an interesting departure for James Williams. Most of the pianist's albums have been instrumental, but this superb CD finds him featuring two male vocalists (Miles Griffith and Roger Holland) extensively. Truth, Justice and the Blues is essentially an album of acoustic post-bop, although Williams incorporates elements of gospel, blues, and soul. The results are quite spiritual; some of the comparisons that immediately come to mind include Duke Ellington's more gospel-influenced material and the Horace Silver LPs that feature Andy Bey. One also thinks of Leon Thomas' work with Pharoah Sanders and the early Lonnie Liston SmithCosmic Echoes records that employed Donald Smith on vocals. You won't find any overdone Tin Pan Alley standards on this 1994 date; all of the melodies were written by Williams, although Pamela Baskin-Watson provides most of the lyrics (including seldom heard lyrics for "Alter Ego," Williams' best-known melody). That is, she writes lyrics for the songs that have lyrics -- Griffith and Holland stick to wordless scatting on a few of the selections. Truth, Justice and the Blues isn't for myopic jazz snobs or for people who believe that only instrumental music has value. But if you appreciate a variety of African-American music -- if you're the sort of eclectic listener who holds Joe Williams, Marvin Gaye, Sister Clara Ward, and Jimmy Witherspoon in equally high regard -- you'll find that Truth, Justice and the Blues is among Williams' finest accomplishments.
---Alex Henderson, All Music Guide
Kenny Burrell
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Jul 31, 1931 in Detroit, MI
Genre: Jazz
Styles: Bop, Cool, Ballads, Soul-Jazz, Hard Bop, Mainstream Jazz
Kenny Burrell has been a very consistent guitarist throughout his career. Cool-toned and playing in an unchanging style based in bop, Burrell has always been the epitome of good taste and solid swing. Duke Ellington's favorite guitarist (though he never actually recorded with him), Burrell started playing guitar when he was 12, and he debuted on records with Dizzy Gillespie in 1951. Part of the fertile Detroit jazz scene of the early '50s, Burrell moved to New York in 1956. Highly in demand from the start, Burrell appeared on a countless number of records as a leader and as a sideman. Among his more notable associations were dates with Stan Getz, Billie Holiday, Milt Jackson, John Coltrane, Gil Evans, Sonny Rollins, Quincy Jones, Stanley Turrentine, and Jimmy Smith. Starting in the early '70s, Burrell began leading seminars and teaching, often focusing on Duke Ellington's music. He toured with the Phillip Morris Superband during 1985-1986, and led three-guitar quintets, but generally Kenny Burrell plays at the head of a trio/quartet.
---Scott Yanow, All Music Guide |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
