Rufus & Chaka Khan - Live: Stompin' At The Savoy

Bitrate: MP3@320K/s
Time: 77:08
Size: 176.6 MB
Styles: Funk, R&B, Soul
Year: 1983
Art: Front

[5:36] 1. You Got The Love
[4:25] 2. Once You Get Started
[3:37] 3. Dance Wit Me
[3:28] 4. Sweet Thing
[3:39] 5. Tell Me Something Good
[5:41] 6. You're Welcome, Stop On By
[4:31] 7. Pack'd My Bags
[4:06] 8. I'm A Woman
[3:39] 9. At Midnight
[4:14] 10. Don't Go To Strangers
[3:29] 11. Ain't That Peculiar
[5:50] 12. Stay
[4:24] 13. What Cha' Gonna Do For Me
[6:50] 14. Do You Love What You Feel
[4:41] 15. Ain't Nobody
[4:10] 16. One Million Kisses
[4:39] 17. Try A Little Understanding

Alto Saxophone, Flute – Larry Williams; Arranged By [Horns], Trumpet – Jerry Hey; Backing Vocals – Julia Tillman*, Lee Maiden, Stephanie Spruill; Bass – Bobby Watson; Drums – John Robinson (2); Guitar, Vocals – Tony Maiden; Keyboards – David "Hawk" Wolinski, Kevin Murphy (2); Percussion – Paulinho Da Costa (tracks: 2-5 to 2-8); Percussion [Live Recordings] – Lenny Castro (tracks: 1-1 to 2-4); Piano – Joe Sample (tracks: 2-8); Rhythm Guitar [Live Recordings] – David Williams (4) (tracks: 1-1 to 2-4); Synthesizer [Additional] – James Newton Howard (tracks: 2-5 to 2-8); Synthesizer [Bass] – Greg Phillinganes (tracks: 2-7); Tambourine [Live Recordings] – Stephanie Spruill (tracks: 1-1 to 2-4); Tenor Saxophone, Flute – Gary Herbig; Tenor Saxophone, Flute, Soloist [All Sax Solos] – Ernie Watts; Vocals – Chaka Khan.

Rufus' 1983 double LP, Stompin' at the Savoy (Live) was an ambitious, eccentric, and occasionally patchy affair that grew out of a series of live shows the group staged during 1982. With Chaka Khan at least temporarily back in the fold, the band stunned packed audiences with an energetic set of old favorites and new material, even as a second Khan reunion album, Camouflage, foundered. The idea for this set, and what ultimately became the group's last album, grew out of those live shows. Recorded over three nights in January at the fabled New York venue, Stompin' At the Savoy (Live) packs three sides with live performance, leaving the fourth, a studio mini-set of all new material, the odd man out at the end. Those three live sides not only capture the effervescent spirit that infused the band whenever Khan added her phenomenal soul vocals to the funk-rock aggregate, but also wowed fans with passionate revamps of some of Rufus' brightest moments -- both "Tell Me Something Good" and "What Cha' Gonna Do for Me" are powerhouse numbers, while "Dance Wit Me" and "Sweet Thing" follow behind. It's only when we come to the studio side that the effort unravels. With a handful of songs that are essentially throwaways, it's just the lone gem, "Ain't Nobody," that salvages the moment. Completely fresh, and shunting the latter day band from lukewarm to white hot, "Ain't Nobody" scored the band their 5th R&B #1 when it debuted at the top of the charts in July 1983. And although Rufus disbanded not long after, both Stompin' at the Savoy (Live) and "Ain't Nobody" ensured that the band would exit the scene on a note as high, if not higher, than they entered it. ~Amy Hanson

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Jeff Uban - Shift In Times

Bitrate: MP3@320K/s
Time: 68:56
Size: 157.8 MB
Styles: Trumpet jazz
Year: 2008
Art: Front

[5:29] 1. Dig
[6:47] 2. Shift In Times
[6:58] 3. Clever Trever
[7:18] 4. Last Goodbye
[5:15] 5. Have You Met Miss Jones
[4:49] 6. Keepin' It Real
[5:23] 7. My Love, My Pain
[4:59] 8. Monk-Eying Around
[6:59] 9. Right Place, Wrong Time
[7:19] 10. Everything I Love
[5:36] 11. This, That, N' More
[1:59] 12. Here's That Rainy Day

Jeff Uban - Trumpet; Eric Bernhardt - Tenor Sax; Clint Dadian - Guitar; Eric Gunnison - Piano; Ken Walker - Bass; Mike Marlier - Drums.

Life is uncertain, unstable, always changing. Sometimes you have to know when to hold on and when to let go. Sometimes you are not ready for what is to come and other times you are waiting for something to happen. From the good to the bad, one thing is for sure...you have to shift with those times. This album is just that. My heart, soul, and life through the heartbreaks, passions, and joys. This is my... Shift In times.

This album is dedicated to those who have invested part of themselves into my journey to accomplish my dreams and to those who are listening that are in the process of a Shift In Times in their own life. May this music breathe down into your soul so that you become wiser and stronger from the things of the past and experience more passion, love, and joy for the things to come.... As for today.... Let's have a good time swingin'.

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Patti Drew - The Best Of Patti Drew: Workin' On A Groovy Thing

Bitrate: MP3@320K/s
Time: 70:54
Size: 162.3 MB
Styles: R&B, Pop
Year: 2007
Art: Front

[2:31] 1. Tell Him
[2:38] 2. Stop And Listen
[2:29] 3. I Can't Shake It Loose
[2:55] 4. Where Is Daddy
[3:12] 5. My Lover's Prayer
[2:16] 6. Suffer
[2:43] 7. Keep On Movin'
[2:30] 8. There'll Never Be Another
[3:09] 9. Workin' On A Groovy Thing
[5:45] 10. Beggar For The Blues
[2:41] 11. Fever
[2:25] 12. Hard To Handle
[2:27] 13. Just Can't Forget About You
[2:43] 14. I've Been Here All The Time
[2:41] 15. Midnight Confessions
[2:54] 16. A Guy Like You
[2:45] 17. The Love That A Woman Should Give To A Man
[2:28] 18. He's The One
[2:41] 19. Which One Should I Choose
[2:31] 20. Wild Is Love
[3:38] 21. Hundreds And Thousands Of Guys
[3:15] 22. It's Just A Dream
[2:00] 23. It's My Time
[3:11] 24. I've Known
[2:13] 25. Tell Him

2007 compilation from the R&B/Pop vocalist who scored solo hits in the late '60s with 'Tell Him' and 'Workin' On A Groovy Thing' (later a big hit for the 5th Dimension). 25 tracks including the two aforementioned cuts plus 'Stop And Listen', 'Where Is Daddy', 'My Lover's Prayer' and more

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Gerald Wilson Orchestra - On Stage

Bitrate: MP3@320K/s
Time: 38:42
Size: 88.6 MB
Styles: Big band
Year: 1965/2018
Art: Front

[3:10] 1. Los Moros De Espana
[2:59] 2. Who Can I Turn To
[4:24] 3. Ricardo
[2:35] 4. Musette
[5:50] 5. In The Limelight
[7:25] 6. Lighthouse Blues
[4:01] 7. El Viti
[3:43] 8. Lately
[4:30] 9. Perdido

Arranger Gerald Wilson led one of the finest big bands of the 1960s. This out of print LP features the L.A. orchestra in top form although, since it is a studio album, its title is inaccurate. Trumpeter Bobby Bryant, tenors Teddy Edwards and Harold Land, altoist Anthony Ortega, guitarist Joe Pass, and (on five of the nine cuts) the organ of Jack Wilson are the dominant solo voices but it is the charts that give this orchestra its own personality. Highlights include "Who Can I Turn To," "Lighthouse Blues," and "Perdido." ~Scott Yanow

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Marta Sanchez Quintet - Partenika

Bitrate: MP3@320K/s
Time: 51:52
Size: 118.7 MB
Styles: Piano jazz
Year: 2015
Art: Front

[3:32] 1. Opening
[7:57] 2. Patella Dislocation
[8:48] 3. Partenika
[7:44] 4. Balada Del Momento
[4:52] 5. Yayyy
[8:03] 6. Andy
[6:48] 7. Small Game
[4:04] 8. El Paso De Los Años

Jerome Sabbagh: tenor saxophone; Roman Filiu: alto saxophone; Marta Sanchez: piano; Sam Anning: bass; Jason Burger: drums.

A marriage of moody yet calming piano seesaws, cymbal swells, and arco bass serves as the entry portal into pianist Marta Sanchez's Partenika. The feelings that come over the mind and body while taking in those overlaid ingredients during the opening of "Opening" must be like what Dorothy felt when she awoke in Oz or what Alice must have experienced when she went down the rabbit hole: in other words, it's like waking up to a whole new and wondrous world.

The spellbinding experience that unfolds at the dawn of "Opening" is but one of many on Partenika. The second number on the program—"Patella Dislocation"—offers another. After a rhythmically pointed and disjointed start, Sanchez and company enter an ethereal realm mid-track, only to be drawn back out as the rhythm section reforms around Jerome Sabbagh's saxophone. Then there's the title track, a piece influenced by Greek street music, with a probing introductory solo from bassist Sam Anning and the spotlight firmly placed on Sabbagh and alto saxophonist Roman Filiu; "Balada Del Momento," a harmonically sophisticated ballad-of-a-sort that's haunted and hazy and colored with maroon hues; and, a hair further down the line, "Andy," another ballad that alternately offers resolute thoughts and fragile feelings.

Sanchez clearly has no problem letting things go adrift, demonstrated repeatedly as she paints wide canvases with complex colors and emotions. But listeners shouldn't be fooled into thinking that this is shadowy music without shape. Sanchez and her musical companions also show determination and rhythmic focus in much of their work. Sabbagh draws the perfect picture of strength meeting elegance during "Andy," Sanchez shows her Spanish roots during her glee-fueled solo on the spry and invigorating "Yayyyyy," and drummer Jason Burger provides some hip groove work that outlines the curvy road on the album-ending "El Paso De Los Anos."

Partenika is an extremely enjoyable record that never goes to extremes. The more driven material never pushes too hard and the ballads are never mired in the depths of melancholy. Marta Sanchez always manages to strike a fine balance in her work, whether delivering a solid state song or something a bit more shapeless in nature, and in the center of it all is her striking and seductive piano work. ~Dan Bilawsky

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Stuart Weber - The Fifth Row

Bitrate: MP3@320K/s
Time: 34:37
Size: 79.3 MB
Styles: Classical contemporary
Year: 2009
Art: Front

[3:01] 1. Bouree Alla Polacca
[3:18] 2. Humoreske
[3:07] 3. Sacagawea
[3:41] 4. Passacaille
[2:44] 5. Texas Girl At The Funeral Of Her Father
[6:29] 6. Tango On Spanish Creek
[2:47] 7. Evening At The Village
[2:35] 8. Jefferson Waltz
[1:44] 9. Darkness
[2:58] 10. Walk Away
[2:09] 11. America The Beautiful

Many old theaters I have played in across the country share a remarkably common story - they have been saved from the wrecking ball by a few volunteers dedicated to preservation, and to bringing live entertainment back to their community. As compelling a story as that is, my fascination in these historic theaters was to discover what unique qualities they may offer as a recording space. My interest in producing another studio recording was all but gone when this theater recording project came to mind. I learned long ago that focusing on the sound coming off the guitar is not as important as listening to the room in which the guitar is being played. We may perform from stage, but our ears have to be in the house. The Fifth Row, to be precise. Each theater has its own unique sound quality, an acoustic fingerprint that, with careful microphone placement, can itself be captured and preserved.

Each selection on this album was recorded in a different historic theater throughout the Rocky Mountain Northwest. The theaters represented on this CD are in various states of revival. Some have undergone exquisite restoration, while others are searching for the financial means to pay for the expensive renovations. Their architectural styles vary as well, from 17th century European, to Art Deco; from Egyptian, to Swiss Chalet. Some are grand, some are humble, and all have a story to tell.

I limited my geographic scope to a five state area in the Rocky Mountain region. Here, the explosive growth of the late 19th century and early 20th century saw a crop of opera houses spring up to cater to the interests of citizens far removed from the cultural amenities of the Eastern states. In the “boom” half of the familiar cycle, these gems were the real gold mines. Unfortunately most of these original houses are gone, many to fire, others to neglect and hard times. A second surge of theater construction in the 1920’s was in direct response to the burgeoning movie craze. These palaces were often intended for multi use, able to accommodate the talkies, but also equipped with deep stages and towering flies to hoist sets for plays and musicals that traveled through town.

Another factor in my choosing the theaters of the Northern Rockies was purely logistical. I live in Montana, and the location recordings required a considerable amount of equipment, which meant driving. The long distances between these theaters gave me plenty of time to reflect. I was crossing the same ground that Vaudeville acts of 125 years ago traveled as they made the mining town circuit. The similarities don’t go much beyond that, however, since I am speeding down a modern highway in my air-conditioned Jeep, listening to a mix in surround sound. Yet there is a connection. My art is my work.

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Eddie Palmieri - The Very Best Of Eddie Palmieri & Friends

Bitrate: MP3@320K/s
Time: 156:42
Size: 358.7 MB
Styles: Latin jazz, Salsa
Year: 2013
Art: Front

[3:46] 1. Vamonos Pal Monte
[6:31] 2. Oyelo Que Te Conviene
[4:03] 3. La Malanga
[6:08] 4. Un Dia Bonito
[6:28] 5. Nada De Ti
[5:27] 6. Bilongo
[6:59] 7. Puerto Rico
[5:18] 8. Una Rosa Espanola
[5:39] 9. Kinkamache
[3:41] 10. Pa Huele
[3:47] 11. Nunca Contigo
[3:38] 12. Deseo Salvaje
[8:54] 13. Sabroso Gua Guanco
[5:37] 14. Adoracion
[6:21] 15. Random Thoughts
[4:38] 16. La Fruta Bomba
[9:01] 17. Suert La Lengua
[5:21] 18. Cosas Del Alma
[3:58] 19. Condicianes Que Existen
[6:07] 20. Suave
[6:29] 21. Suave De Pam
[9:07] 22. Sujetate La Lengua
[4:01] 23. La Malanga
[5:24] 24. Bilongo
[6:53] 25. Chocolate Ice Cream
[5:30] 26. La Libertad Logica
[3:46] 27. Vamonos Pal Monte
[3:56] 28. Amor Ciego

This is a collection of some cuts from each of Eddie Palmieri's great early '70s albums, including SUN OF LATIN MUSIC, SENTIDO, and UNFINISHED MASTERPIECE. The version of "Adoracion" is edited, not the full album version. There is also some other material, including several edited versions from the classic LIVE AT THE UNIVERSITY OF PUERTO RICO album. These are shorter than the album versions, with solos missing. You really lose the essence of this album when you can't hear the musicians stretch out. ~M. Palmieri

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Patti Page - The Patti Page Collection: The Mercury Years Vol. 1

Bitrate: MP3@320K/s
Time: 56:23
Size: 129.1 MB
Styles: Vocal
Year: 1991
Art: Front

[2:46] 1. Confess
[3:10] 2. With My Eyes Wide Open I'm Dreaming
[2:40] 3. I Don't Care If The Sun Don't Shine
[3:12] 4. All My Love
[2:25] 5. Back In Your Own Backyard
[3:01] 6. Tennessee Waltz
[2:58] 7. Would I Love You
[2:56] 8. Mockin' Bird Hill
[2:52] 9. Down The Trail Of Achin' Hearts (Single Version)
[2:30] 10. Evertrue Evermore
[3:10] 11. Mister And Mississippi
[2:47] 12. Detour
[2:54] 13. And So To Sleep Again
[2:09] 14. Come What May
[2:45] 15. Whispering Winds
[2:45] 16. Once In A While
[3:14] 17. I Went To Your Wedding
[2:47] 18. You Belong To Me
[2:44] 19. Why Don't You Believe Me
[2:27] 20. Conquest

When Mercury Records finally got around to compiling a Patti Page's hits for the CD era (the ten-track LP Golden Hits had been in print since 1960), the label opted to create two separate volumes, one containing the singer's early hits, the other her later ones. While fans might have preferred a single-disc greatest hits album containing all of her biggest singles, the two-volume approach allowed Mercury to bring back into print many of Page's lesser hits of the 1950s. The first volume, a 20-track collection, includes most of the 26 chart entries she achieved between 1948 and 1952. All 13 Top Ten hits from the period are included, among them the chart-toppers "All My Love," "The Tennessee Waltz," "Mockin' Bird Hill," and "I Went to Your Wedding." Below the Top Ten, however, compiler Ron Furmanek has made judgment calls so that, for example, "So In Love," which made the Top 20, is not here, while "Evertrue Evermore" is, which only made the Top 30. This is a solid collection which contains some excellent material that, despite its popularity, rarely gets onto compilations, such as Page's recording of "I Don't Care If the Sun Don't Shine," later cut by Elvis Presley. But fans wanting any of her hits from after 1952, starting with "The Doggie in the Window," will have to invest in the second volume as well. ~William Ruhlmann

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Larry Goldings, Peter Bernstein, Bill Stewart - Ramshackle Serenade

Bitrate: MP3@320K/s
Time: 62:30
Size: 143.1 MB
Styles: B3 Organ jazz
Year: 2014
Art: Front

[5:46] 1. Roach
[8:41] 2. Luiza
[7:03] 3. Simple As That
[4:31] 4. Ramshackle Serenade
[8:18] 5. Mr. Meagles
[7:44] 6. Sweet And Lovely
[8:19] 7. Blue Sway
[6:13] 8. Useless Metaphor
[5:51] 9. Peace

Larry Goldings: Hammond organ; Peter Bernstein: guitar; Bill Stewart: drums.

Ramshackle Serenade finds this group covering a lot of ground. The album opens with Goldings' "Roach"—a slow blues in five—which proves to be one of the standout performances. Goldings and Bernstein both cook while Stewart masterfully slices up the time in endlessly inventive ways. The trio then visits Brazilian territory with Jobim's "Luiza," throws one down the middle with Bernstein's aptly-titled "Simple As That," and works in a rhythmically floating environment on "Ramshackle Serenade." The title track is all about rubato rumination, as Goldings and Bernstein paint melodies while Stewart lightly colors in the background. Goldings' "Mr. Meagles," sitting at the midpoint of the album, is a great example of the way this trio manages to create music that speaks relatively softly and carries a mean groove; it's low flame music that can still cause third degree burns.

The second half of the album contains a "Sweet And Lovely" that grows hotter over time, a pair of originals—Stewart's hip-and-intoxicating "Blue Sway" and Bernstein's lively "Useless Metaphor"—and an album-closing look at Horace Silver's oft-covered "Peace." After all these years, this trio still manages to make magic whenever it hits the studio. It doesn't get much better than this. ~Dan Bilawsky

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Grant Green - The Original Jam Master Vol. 3: Mellow Madness

Bitrate: MP3@320K/s
Time: 50:12
Size: 114.9 MB
Styles: Guitar jazz
Year: 2005
Art: Front

[ 8:51] 1. Cease The Bombing
[10:56] 2. Maiden Voyage
[ 8:59] 3. A Day In The Life
[ 6:39] 4. Down Here On The Ground
[14:45] 5. Fancy Free

Mellow Madness is the leadoff volume in Blue Note's Original Jam Masters Series compilation series that thematically focuses on guitarist Grant Green's late period with the label, from 1969 to 1972. Unlike the proceeding two discs, Mellow Madness is a more textured soul-jazz record. Its tunes comes from the same discs as on the latter volumes, but as "Cease the Bombing" by Neal Creque suggests, the spacious side of groove is what's highlighted here. Drummer Idris Muhammad, bassist Jimmy Lewis, and vibist Willie Bivins all shine on this laid-back shimmering beauty. And Green, in uncharacteristically laid-back fashion, makes every note count. Likewise, an 11-minute version of Herbie Hancock's "Maiden Voyage," from Grant's Alive! album, takes its time gathering steam and enlists tenorman Claude Bartee, Jr., organist Ronnie Foster and conguero Joseph Armstrong. But it is the set's closer, a stunning take on Donald Byrd's "Fancy Free" with bassist Wilton Felder, percussion master Hall Bobby Porter, and vibist Gary Coleman that sends it off with authority. Green's loping lead solo takes its time unfurling its knotty labyrinth while never leaving the groove. As other layers enter and leave, he caps, tags, underscores and extends every other solo in the mix. For the money, this is a great way to re-evaluate the guitarist's mature years. ~Thom Jurek

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Bill Perkins Big Band - Our Man Woody

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 52:11
Size: 122,5 MB
Art: Front

(3:09)  1. I Can't Believe That You're In Love With Me
(5:47)  2. I've Got The World On A String
(4:04)  3. Tenderly
(6:31)  4. I Got It Bad And That Ain't Good
(5:14)  5. 9:20 Special
(5:41)  6. My Funny Valentine
(4:42)  7. Blue Lou
(4:54)  8. I've Got A Lot Of Living To Do
(6:04)  9. Sweet Lorraine
(6:00) 10. Blues For Woody

Bill Perkins pays tribute to former boss Woody Herman on this CD by leading a 14-piece big band through a variety of standards, most of which were featured by Herman. Actually, this is more of a tribute to Herman's spirit than to his original recordings, for the arrangements (by Jim Knight, John La Barbera, Dennis Mackrel, Frank Strazzeri and Mark Taylor) are much newer; not all of the songs (such as "I Can't Believe That You're In Love With Me," "9:20 Special" and "Blue Lou") were that closely connected with Herman's legacy, and his hits ("Four Brothers" and "Early Autumn") are absent. In addition, there is no clarinetist in the band filling in for Herman. Many soloists are heard from, including Perkins (on tenor, alto and soprano), trumpeters Bob Summers and Clay Jenkins, Bob Cooper on tenor, baritonist Jack Nimitz, trombonists Charlie Loper and Andy Martin, and pianist Strazzeri. Among the highlights of the spirited set are Perkins' feature on "I Got It Bad," "Blue Lou," Nimitz on "Sweet Lorraine," and "Blues for Woody." ~ Scott Yanow https://www.allmusic.com/album/our-man-woody-mw0000429155  

Personnel: Bill Perkins (soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone); Bob Cooper, Brian Scanlon (alto saxophone, tenor saxophone); Jack Nimitz (baritone saxophone); Clay Jenkins, Joseph Davis , Rick Babtist, Wayne Bergeron, Bob Summers (trumpet); Andrew Martin , Charles Loper (trombone); Richard Bullock (bass trombone); Frank Strazzeri (piano); Paul Kreibich (drums).

Our Man Woody

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Gary Bartz - The Red And Orange Poems

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 58:39
Size: 136,3 MB
Art: Front

(7:01)  1. By Myself
(9:26)  2. Nusia's Poem
(5:55)  3. I'm Gonna Laugh You Right Out Of My Life
(6:44)  4. J Seas
(9:55)  5. Relentless
(4:11)  6. Along The Twelve Tone Row
(5:57)  7. Soulmate
(9:24)  8. But Not For Me

Alto veteran Gary Bartz may not have made it as big as originally predicted, but as shown on this 1994 studio date, he developed a sound of his own and was always capable of coming out with exciting yet thoughtful music. Joined by such associates as trumpeter Eddie Henderson, John Clark on French horn, pianist Mulgrew Miller, bassist Dave Holland, drummer Greg Bandy and percussionist Steve Kroon, Bartz is in excellent form on a variety of standards (including "By Myself" and "But Not for Me") and originals.~ Scott Yanow https://www.allmusic.com/album/red-orange-poems-mw0000122640   

Personnel: Gary Bartz (alto saxophone); Eddie Henderson (trumpet, flugelhorn); John Clark (French horn); Mulgrew Miller (piano); Dave Holland (bass); Greg Bandy (drums); Steve Kroon (percussion

The Red And Orange Poems

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Dan Siegel - The Getaway

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 43:26
Size: 101,1 MB
Art: Front

(4:51)  1. The Straight & Narrow
(5:19)  2. Shadows
(4:49)  3. Sidewalk Sundae
(5:08)  4. Treasure Hunt
(4:25)  5. Obsession
(3:59)  6. If You Say So
(4:26)  7. The Getaway
(4:35)  8. Facing North
(3:01)  9. Old Friends
(2:49) 10. When Statues Fall

Dan Siegel (born in Seattle, Washington) is a pianist, composer, and record producer. His earlier music has been described as new age, while his more recent work has been called contemporary jazz.Siegel was born in Seattle, Washington and raised in Eugene, Oregon. When he was eight, he began piano lessons, and at 12 he was performing professionally in a rock band. He went to the Berklee College of Music in Boston, then the University of Oregon. After college, he started recording his own compositions. He signed with the jazz record label Inner City Records and recorded his first album, Nite Ride (1980). 

His second album, The Hot Spot (1982), reached the top ten of the jazz chart in Billboard magazine. He moved to Los Angeles and composed music for movies and television. In 1986 he signed with Epic Records and released a series of smooth jazz albums. https://en.wikipedia.org/wiki/Dan_Siegel_(musician)

Personnel: Piano – Dan Siegel;  Bass – Dwayne "Smitty" Smith, Larry Kimpel;  Drums – Randy Drake, Rayford Griffon

The Getaway

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Molly Johnson - Meaning To Tell Ya

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 40:31
Size: 94,7 MB
Art: Front

(4:53)  1. Inner City Blues
(3:38)  2. Better Than This
(4:25)  3. Lady Day And John Coltrane
(5:44)  4. Boogie Street
(3:02)  5. Gone
(4:19)  6. Stop
(3:17)  7. Protest Song
(4:06)  8. Meaning To Tell Ya
(3:07)  9. L.O.V.E.
(3:55) 10. Together

If I could pick a surprise breakthrough album less than halfway through this year, without question that esteemed designation would be afforded to Canadian icon Molly Johnson. In one fell swoop, the Juno award winning vocalist has traded her proverbial jazz mic for a sound that is superb soul, funk, groove and an unexpected contrast from any of her previous half dozen releases since 2000. Meaning To Tell Ya, released by Universal Music Canada, brings Molly together with Grammy winning producer Larry Klein (Joni Mitchell, Tracy Chapman) on her 10 song offering, which includes 7 originals and 3 interpretations of classics for an engaging and wondrous project that even Johnson herself says is long overdue. “This is the record I’ve been waiting to make for years’, says Johnson. ‘Working with Larry Klein was magic. When it was finally my turn, I jumped at the opportunity’, she adds. Lucky for us her number came up. Meaning To Tell Ya includes a superb re-imagination of Marvin Gaye’s 1971 social commentary ‘Inner City Blues’, which she, like many people including me, found the message of urban decay and struggle as relevant today as it was upon its initial release. Better Than This is an up-tempo feel good vibe of soul positivity, encouragement and hope with a sweet melody. Gone offers some rock’n’blues fun while conversely reflecting on a relationship split with some gritty guitar and dose of Hammond organ soul.

Johnson provides some satisfyingly smooth southern soul and blues on another social message, Protest Song, which is neither contentious nor confrontational but rather uplifting and inspiring, evoking memories of the peaceful words of the late Dr. King with lyrics of ‘singin’ about freedom, we shall overcome’ . Tribute is paid to the iconic Canadian poet and singer Leonard Cohen with a rendition of Boogie Street, though slightly less dark and haunting than the original. Soul and funk swagger dominate on L.O.V.E. with choral backing vocals, and clever references to classic song titles such as ‘Ball Of Confusion, Rock Steady, and The Kids Are Alright. With Klein’s masterful production work and Johnson’s beloved sophisticated vocals, the album transcends any generational gap back to the classic soul and R’n’B era, while bringing it forward with a 21st century sound. Meaning To Tell Ya is musically exhilarating, lyrically engaging, and whatever Johnson has been wanting to express, she has accomplished it with soulful articulation.~ Stu Berketo https://www.wave.fm/articles/view/molly-johnson-meaning-to-tell-ya https://www.wave.fm/articles/view/molly-johnson-meaning-to-tell-ya

Meaning To Tell Ya

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