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Jumpin' Off
Richard Elliot
első megjelenés éve: 1997
(1997)

CD
3.851 Ft 

 

IMPORT!
Kosaramba teszem
1.  Jumpin' Off
2.  All Night
3.  If You Want My Love
4.  Here and Now
5.  Tell Me About It
6.  Slow Burn
7.  In the Groove
8.  One Last Kiss
9.  Nobody Knows
Jazz

Richard Elliot - Sax (Soprano), Sax (Tenor)
Brian Culbertson - Keyboards
Dan Shea - Keyboards, Programming
Lenny Castro - Percussion
Michael Egizi - Keyboards, Programming
Mike Sims - Guitar
Mitchel Forman - Keyboards
Paul Jackson, Jr. - Guitar
Peter White - Guitar
Robbie Nevil - Keyboards

* Charles Nasser - Assistant Engineer
* Darcy Cloutier-Fernald - Art Direction
* Ioannis - Art Direction
* Pamela Springsteen - Photography
* Paul Brown - Engineer, Mixing, Producer, Programming
* Stephen Jacaruso - Design
* Steve Dubin - Producer, Programming
* Steven Hientz - Programming

One of contemporary jazz's most durable and popular saxmen, Richard Elliot has also been one of the genre's most self-sufficient. His 1986 debut album Initial Approach was produced by Henry Lewy (of Joni Mitchell Court and Spark fame), but Elliot took the reins on the eight subsequent albums that have made his tenor a smooth jazz radio staple. In Paul Brown, Elliot made the perfect decision for his first collaboration with an outside producer, both sonically, creatively and -- with an eye towards keeping himself viable in an everchanging marketplace -- commercially. The result of this collaboration, Jumpin' Off lives up to its title; this easygoing, slow-sizzling set is very different from his usual aggressive style, with tunes that slowly envelop rather than explode in your face. His longtime fans, however, will have no trouble taking the leap of faith. "Contents under pressure" might be a good way to describe many of the tracks. Elliot's trademark has always been his searing, gritty intensity and high and low dynamics, grabbing hold of a note and pushing it higher, then holding it for seconds at a time before reaching back down for the lower register. But on floating, free-flowing ballads like "One Last Kiss" and "All Night," he holds back and caresses the notes, rather than attack them. With hooks enhanced by subtle horn doubling, the bubbly, creamy effect is like go-down-easy Grover Washington, Jr..
--- Jonathan Widran, All Music Guide



Richard Elliot

Active Decades: '70s, '80s, '90s and '00s
Genre: Jazz
Styles: Urban, Instrumental Pop, Fusion, Jazz-Pop, Contemporary Jazz, Crossover Jazz, Quiet Storm, Smooth Jazz

Although he's called a "smooth jazz artist," saxophonist Richard Elliot is equally at home with most rock & roll and the kind of classic R&B performed by the group Tower of Power. For five years in the 1980s, he was a big part of the classic R&B band's horn-based sound.
The Scottish-born Elliot was raised in Los Angeles, where he quickly became a fan of West Coast classic R&B. Elliot landed his first job while still a teenager with Natalie Cole and the Pointer Sisters. A few years later, he was tapped to record with some of his idols from Motown Records, which had relocated from Detroit to Los Angeles. In the 1970s, he had the chance to record with Smokey Robinson, the Four Tops, and the Temptations. Elliot was later tapped to record with the Yellowjackets on their second album. After touring with Melissa Manchester for a time, he was asked to become a full-fledged member of the Tower of Power horns in 1982. He stayed with the group until 1987 and looks back fondly on those years for they shaped the style he has today. When he's not playing his over 100 dates a year, Elliot pilots a small aircraft and is partner in PacifNet, an Internet multimedia company that develops websites for the music and entertainment industries.
Elliot's nine albums under his own name include his self-produced Cityspeak (1996); After Dark (1994); On the Town, (1991); Power of Suggestion (1991); Take to the Skies (1991); Trolltown (1991); What's Inside (1991); Initial Approach (1984); and Soul Embrace (1993) all for Blue NoteCapitol Records. Two albums he had recorded for the now-defunct Enigma were re-released on Capitol. His 1993 album Soul Embrace rocketed to the top of the Billboard contemporary jazz charts, and though Elliot has a smooth jazz sound that could be compared with Kenny G.'s, albums like 1999's Chill Factor prove his take on contemporary jazz is more firmly rooted in tradition.
---Richard Skelly, All Music Guide
Weboldal:Blue Note Records

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