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| 4.305 Ft
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| 1. | Modern Art
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| 2. | Paris Groove
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| 3. | Black Book
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| 4. | Pastels On Canvas
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| 5. | One Step Closer
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| 6. | I Still Believe
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| 7. | Body Art
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| 8. | Age Of Reason
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| 9. | Sweet Lullaby
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| 10. | Jet Set
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| 11. | Love Story
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Jazz / Instrumental Pop, Jazz-Pop, Contemporary Jazz, Crossover Jazz, Smooth Jazz
Bill Heller - Keyboards, Accordion
Dave Karasony - Drums
Jeff Kashiwa - EWI, Saxophone
Russ Freeman - Electric Sitar, Rhythm, Engineer, Arranger, Mixing, Programming, Producer, Guitar, Executive Producer, Keyboards
Rick Braun - Trumpet, Guest Appearance
Alfredo Matheus Mixing
Andi Howard Executive Producer
Bernie Grundman Mastering
Bill Mayer Illustrations
Sonny Mediana Photography, Design
Steve Sykes Mixing
Valerie Ince Project Manager
Different musical historians will offer different opinions on exactly when smooth jazz got started. One could argue that the commercial pop-jazz that guitarist Wes Montgomery recorded for A&M with producer Creed Taylor in 1967 and 1968 (after Montgomery quit recording straight-ahead bop) marked the beginning of smooth jazz, but it was in the 1980s that the smooth jazz/NAC radio format really took off -- and the Rippingtons have often reaped the benefits of the format's popularity. Along the way, they have recorded plenty of innocuous, lightweight fluff; 2009's Modern Art often fits that description, but the 49-minute CD does have its moments. At times, guitarist Russ Freeman (the Rippingtons' founder and longtime leader) sounds like he yearns to break free of the smooth jazz/NAC format's constraints and limitations -- and a somewhat edgier side of the group asserts itself with decent results on "Body Art," the funky "Jet Set," and the title track. Also, there is a bit of an intrigue factor on the flamenco-tinged "Pastels on Canvas." ~ Alex Henderson, All Music Guide
A quick Google search of the term Modern Art clues in contemporary jazz fans everywhere just why it's the perfect title for The Rippingtons' latest release on Peak Records, and reflective of band founder Russ Freeman's creative mindset as he leads the pioneering band in blazing new trails at the start of their incredible third decade: "It is usually associated with art in which the traditions of the past have been cast aside in a spirit of experimentation, associated with new ways of seeing and fresh ideas about the functions of art."
The Rippingtons spent the summer of 2006 and much of the past two years celebrating that past and toasting the future with what Freeman jokingly calls "the longest and greatest 20th Anniversary tour in history." They embarked on the extended journey upon the release of The Rippingtons 20th Anniversary, the remarkable 2006 CD/DVD package featuring a retrospective DVD, new music and a medley of their most popular airplay hits since the release of their debut album Moonlighting in 1986. While the demand for more shows means that Ripps enthusiasts have had to wait longer than usual (two and a half years) for the band's follow-up, the extra time and ongoing slate of live concerts allowed Freeman and his explosive new lineup (including powerful new bassist Rico Belled and special guest, returning saxophonist Jeff Kashiwa) the extraordinary opportunity to work out the new material on Modern Art and let the songs evolve in front of the audiences' eyes.
"Writing is always a very organic process for me," says Freeman, who wrote most of the collection's tracks in early 2008, "and spending so much of the spring, summer and fall on the road meant that I had more time to live with the songs and let them develop naturally. The time between writing and recording is usually much shorter, but this time the band had a lot of time to work with the tunes and help them evolve in some amazing ways. It was also the first time ever I recorded all of my acoustic and electric guitar parts first, which allowed us to interact in the studio the way we do onstage. This new approach allowed them to respond more spontaneously to my playing at a higher intuitive level than they ever could on any previous album - and we're talking 18 albums since the late 80's!"
"I think the music of The Rippingtons has struck a universal chord that is hard to fully explain," states Freeman. "That connection has given us many loyal fans over the years and has been wonderful for me and the musicians I've worked with along the way. I value being part of everyone's collective musical experiences more than I ever did - and am very excited about continuing to share my passions with those who share theirs."
As The Rippingtons move beyond their 20th Anniversary and into a - to draw from one of their classic album titles - Brave New World, it's a good time to stop for a moment, contemplate the past as we look forward to the future, and admire their latest work of Modern Art.
The Rippingtons
Active Decades: '80s, '90s and '00s
Born: 1987
Genre: Jazz
Styles: Contemporary Jazz, Crossover Jazz, Instrumental Pop, Jazz-Pop, Smooth Jazz
One of the most popular groups in what is loosely termed "contemporary jazz," the Rippingtons were formed (and have been led ever since) by guitarist/keyboardist Russ Freeman (no relation to the veteran West Coast bop pianist of the same name). Freeman (born February 11, 1960, in Nashville) studied at Cal Arts and UCLA, and recorded Nocturnal Playground as a leader in 1985 for the Brainchild label, a one-man project. In 1987, he was approached to record for the Japanese Alfa label and came up with the Rippingtons name for the all-star group he used on the disc (Moonlighting), an ensemble featuring David Benoit, Kenny G., and Brandon Fields. Their album was released domestically by Passport and became a hit. Freeman soon formed a regular touring band (usually including saxophonist Jeff Kashiwa, bassist Kim Stone, drummer Tony Morales, and percussionist Steve Reid), cut a second disc for Passport, and the group recorded regularly for GRP. Russ Freeman writes all of the music for the Rippingtons, much of which falls in the popR&B genre. In the late '90s, the group moved over to the Windham Hill label, recording such albums as Black Diamond (1997), Topaz (1999), Live! Across America, and Life in the Tropics (both in 2000). For 2003's Let It Ripp, the band relied heavily on their horn section to carry the weight of the album. The Latin-flavored Wild Card followed in 2005.
---Scott Yanow, All Music Guide |
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