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| 4.161 Ft
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| 1. | Intro
with Michael Tozzi |
| 2. | Sweet Street
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| 3. | Night Games
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| 4. | Sarah Smile
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| 5. | Dancing at the Pagoda
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| 6. | One for Albert
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| 7. | Late Night at Camelot
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| 8. | On Eagle's Wings
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| 9. | All's Well
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| 10. | Mississippi Mudslide
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Jazz
Recorded: March 17th & 18th, 1998, Berks Jazz Fest in Reading, Pennsylvania
Heads Up Super Band: Kenny Blake (saxophone); Joe McBride (piano); Gerald Veasley (bass); Keith Carlock (drums)
"In May of 1997, the Heads Up Super Band played one of its first gigs together at a WJJZ ListenerAppreciation Party. The club was packed, and the response was huge! From the first note to the last encore, these players converged to make one amazing sound. We knew that what we heard that night was the beginning of something big ... on this CD you'll hear what we heard in that hot jazz club ... the culmination of a lot of hard work, long nights and lots of smiles and miles. Here at WJJZ we've enjoyed working with (and listening to!) the Heads Up Super Band, and now you have the opportunity to hear what we've known about all along.
---Anne Gress, Program Director, WJJZ, Philadelphia
One of the best sources for in the pocket smooth jazz recordings since the early 90s, Heads Up's promise of a live date featuring three of its most appealing core artists - bassist Gerald Veasley, keyboardist Joe McBride and saxman Kenny Blake - seems like as sure a bet as the genre can offer. In terms of showcasing the varied strengths of each performer and their adaptability to an ensemble setting, The Heads Up Super Band's Live at the Berks Jazz Fest at Albright College in Reading, Pennsylvania is a triumph. McBride's forte is playful, uplifting synth melodies and soulful, George Benson like scat vocals, and he shines on the light-funk of "Sweet Street" while Blake matches him note for note. Instrumentally, the band doesn't add too much new to Hall and Oates' gentle 70s hit "Sarah Smile," but McBride takes the opportunity to show his raw vocal power. One of Veasley's specialties is subtly weaving his bass melodically around moody synth atmospheres, and he and Blake do a cat and mouse kind of slow dance on "Night Games." As a leader, Blake specializes in his own brand of sensuous funk, and Veasley gives him a solid, seductive rhythmic foundation to lift a few improvisations off "Dancing at the Pagoda." All of these are mere pleasantries in comparison with the closing tune, a live jam whose combustible spirit shows that these hard workers are about more than friendly radio jazz. Blake leads his "Mississippi Mudslide" aggressively over Veasley's slappy bass groove and McBride's throbbing Sunday Morning blues-gospel best, leading to a jam so buoyant it feels shortchanged at just under six minutes.
---Jonathan Widran, allmusic
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. |
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