Styles: Vocal And Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 40:15
Size: 92,5 MB
Art: Front
(5:15) 1. Ram
(3:53) 2. Midnight Rendezvous
(4:17) 3. Breaker Beat
(4:45) 4. Slippin' Away
(4:32) 5. The Two of Us
(4:14) 6. Quiet Storm
(3:15) 7. Never Wanna Say Goodnight
(4:56) 8. Closer Than Close
(5:04) 9. Song Without Words (Remembering)
The Two of Us
Year: 1984
File: MP3@320K/s
Time: 40:15
Size: 92,5 MB
Art: Front
(5:15) 1. Ram
(3:53) 2. Midnight Rendezvous
(4:17) 3. Breaker Beat
(4:45) 4. Slippin' Away
(4:32) 5. The Two of Us
(4:14) 6. Quiet Storm
(3:15) 7. Never Wanna Say Goodnight
(4:56) 8. Closer Than Close
(5:04) 9. Song Without Words (Remembering)
This is an interesting album, to say the least. Two very well-known names in jazz unite for this album, but the music contained within is not really what one would call “jazz” despite the former of the headliners’ inclusion; it’s more along the lines of what track number 6 indicates the “quiet storm” of R&B with hints of jazz. Boasting production by Stanley Clarke, this album launches from a not-so-quiet start in “Ram” and lands softly with the closer, “Songs Without Words (Remembering)”. Upon the first listen, this album really did sound like they were two separate albums combined to form one, an impression that was not that far off the mark other reviews of this album have indicated that Ramsey and Nancy were not in the studio together when making this album, and that they were two distinct projects produced by Stanley that were compiled to make this one album.
It’s also interesting to note that despite the array of keyboards heard on this record (especially in the earlier tracks), Ramsey Lewis’s contributions are restricted to his trusty Steinway Grand piano. In fact, on songs like “Closer Than Close” (featuring the superb lead vocals of one Daryl Coley, who also duets with Nancy Wilson on the title track), Ramsey falls into a trap not unlike Herbie Hancock in the same period, where he seems like a sideman on an album bearing his name. All these notes aside, the music here is very pleasing, no matter how it was assembled. “Ram” and “Breaker Beat” sound like outtakes from Stanley’s Time Exposure sessions, featuring the late (and ever understated) Robert Brookins in various keyboard roles. The latter especially sounds like a number of songs that came in the wake of “Rockit”, meant for windmilling on cardboard, or blasting from a JVC portable radio/tape deck. Taking songs from this set, Stanley’s Time Exposure, and Rodney Franklin’s Marathon (look for it on this blog soon) flow right together.
Nancy’s side of the album is much easier listening. A cover of “Midnight Rendezvous” from David Roberts’s 1982 All Dressed Up album introduces Nancy to the listener, and on songs like “Never Wanna Say Goodnight”, and the title track, which has the pleasant air of a Quiet Storm R&B-radio ready television theme song from the era, she really shines. Though, as noted above, if one were really looking to hear a more organic collaboration between the two headline artists, you most likely won’t find it here. However, Ramsey and Nancy did record several albums together after this one, in which they weren’t separated by recording sessions. The real draw to this album, besides the excellent songs, is Stanley Clarke’s production, which doesn’t fail to impress, though, it does result in a somewhat disjointed experience this time around.
It’s also interesting to note that despite the array of keyboards heard on this record (especially in the earlier tracks), Ramsey Lewis’s contributions are restricted to his trusty Steinway Grand piano. In fact, on songs like “Closer Than Close” (featuring the superb lead vocals of one Daryl Coley, who also duets with Nancy Wilson on the title track), Ramsey falls into a trap not unlike Herbie Hancock in the same period, where he seems like a sideman on an album bearing his name. All these notes aside, the music here is very pleasing, no matter how it was assembled. “Ram” and “Breaker Beat” sound like outtakes from Stanley’s Time Exposure sessions, featuring the late (and ever understated) Robert Brookins in various keyboard roles. The latter especially sounds like a number of songs that came in the wake of “Rockit”, meant for windmilling on cardboard, or blasting from a JVC portable radio/tape deck. Taking songs from this set, Stanley’s Time Exposure, and Rodney Franklin’s Marathon (look for it on this blog soon) flow right together.
Nancy’s side of the album is much easier listening. A cover of “Midnight Rendezvous” from David Roberts’s 1982 All Dressed Up album introduces Nancy to the listener, and on songs like “Never Wanna Say Goodnight”, and the title track, which has the pleasant air of a Quiet Storm R&B-radio ready television theme song from the era, she really shines. Though, as noted above, if one were really looking to hear a more organic collaboration between the two headline artists, you most likely won’t find it here. However, Ramsey and Nancy did record several albums together after this one, in which they weren’t separated by recording sessions. The real draw to this album, besides the excellent songs, is Stanley Clarke’s production, which doesn’t fail to impress, though, it does result in a somewhat disjointed experience this time around.
The Two of Us
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