Eric Marienthal - Just Around The Corner

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 44:15
Size: 101,6 MB
Art: Front

(4:11)  1. Blue Water
(4:27)  2. Times Square
(4:52)  3. Flower Child
(4:13)  4. Open Road
(4:19)  5. 21 Ocean Front
(4:24)  6. Just Around The Corner
(4:13)  7. I Believe In You
(3:38)  8. Dance With Me
(4:36)  9. Your Move
(5:16) 10. Lost Without You

When heard with Chick Corea's Elektric Band or as a sideman in more straight-ahead settings, Eric Marienthal consistently proves that he is a technically skilled and creative jazz altoist. Unfortunately, on his own recordings Marienthal is content to sound as if he is on automatic pilot, caressing insipid melodies, sticking close to the theme in a somewhat generic tone, and playing music that is clearly geared toward smooth radio and romantic backgrounds. Just Around the Corner has the altoist in the forefront throughout while backed by a purposely anonymous rhythm section. 

Whether showing a bit of pseudo-soulful heat or playing a ballad very straight, Marienthal sounds as if every note were planned in advance, with no room for errors, innovations, or spontaneity. The results are predictable instrumental pop performances by musicians capable of so much better. ~ Scott Yanow http://www.allmusic.com/album/just-around-the-corner-mw0000498405

Personnel: Eric Marienthal (soprano saxophone, alto saxophone, tenor saxophone); Jeff Lorber (guitar, piano, keyboards); Ray Parker, Jr. (guitar); Paul Rayner-Brown (acoustic guitar, keyboards, percussion); Michael Stever (trumpet); Brian Culbertson (trombone, piano, keyboards, percussion, drum programming); Stephen Lu (keyboards, programming); Dave Weckl (drums).

Just Around The Corner

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Chick Corea - The Montreux Years

Styles: Piano Jazz
File: MP3@320K/s
Time: 84:26
Size: 193,9 MB
Art: Front

( 7:51) 1. Fingerprints
(13:41) 2. Bud Powell
(11:46) 3. Quartet No. 2 (Pt. 1)
( 4:31) 4. Interlude
( 4:41) 5. Who’s Inside the Piano
( 7:14) 6. Dignity
(10:07) 7. America (Continents Pt. 4)
(14:10) 8. New Waltz
(10:19) 9. Trinkle Tinkle

If there is anything more ambitious than curating an extensive, comprehensive collection covering the history of an artist, it is collating selected works which vividly outline a particular timeline or theme. Chick Corea's The Montreux Years is a fine example of the latter; this seventh edition in the archive series devoted to the iconic festival not only reflects the late composer and pianist's technical skills, but also his eclectic stylistic tastes. And that is not to mention his fondness for collaborations in all manner of settings.

Eight cuts from six performances, with a running time of about seventy-four minutes, somewhat belies the twelve year chronology of The Montreaux Years. The late esteemed musician first appeared at the iconic festival in 1972, then almost two dozen times thereafter, an extended sequence of events which lent itself to exactly the kind of rotating presentations of which this set is a microcosm.

Corea's inimitable combination of formality and playfulness is potent throughout. And it is not just readily on the Akoustic Band's "Quartet #2 (Pt. 1)," but also (literally) at the opposite end of the musical spectrum on "Interlude;" unfortunately, this overlong audience call-and-response, in the company of the Elektric Band, illustrates the man's penchant for crowd-pleasing as an end in itself. As throughout this CD, on "America (Continents Pt.4)" the sound of the recording has all the realism of the room in which the musicians are playing, no doubt due to the MOA process used in the restoration and mastering of the audio by Tony Cousins.

That latter cut is the closest this anthology gets to a solo piano piece here but, fortunately, a snippet of the man alone at the ivories at the outset of "Dignity" mitigates the absence of such a track. On this dedication to the author's mother, the invigorating interplay with drummer Jeff Ballard and bassist Avishai Cohen balances the tranquility of the leader's interval, while saxophonist Bob Berg's high-flying interlude during the final track, just over fourteen minutes of "New Waltz," also makes for a fittingly rousing close.

The liner notes for The Montreaux Years could have been better conceived and executed to more fully align with the music to which they are devoted. Rather than filling many of the fourteen pages inside the hardbound covers with sentimental reminiscences, more pertinent details about the respective timelines of the groups that appear in the set (and perhaps even some discographical info) would accurately place the ensembles within the chronology of Corea's career; such scholarly information would have been more in line with the borderline deluxe design of the package with its 3D lettering on the outer front cover alongside Joe Weghon's colorful art (which also appears on the compact disc itself).

Fortunately, such academic criticism becomes moot when listening to the likes of the easy-going shuffle of The Freedom Band's take on "Bud Powell," especially as it so dramatically contrasts the New Trio's rollicking opening of "Fingerprints." The Montreux Years is a suitably celebratory historical homage to one of the most iconic jazz musicians of our time. By Doug Collette https://www.allaboutjazz.com/the-montreux-years-chick-corea-bmg/

Personnel: Chick Corea: piano; Frank Gambale: guitar; Eric Marienthal: saxophone, soprano; Bob Berg: saxophone; Kenny Garrett: saxophone, alto; Tim Garland: saxophone; Hans Glawischnig: bass; Christian McBride: bass; John Patitucci: bass, acoustic; Avishai Cohen: bass; Marcus Gilmore: drums; Dave Weckl: drums; Roy Haynes: drums; Jeff Ballard: drums; Tom Brechtlein: drums; Gary Novak: drums.

The Montreux Years

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Chuck Loeb - Between Two Worlds

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 65:01
Size: 149,9 MB
Art: Front

(6:48)  1. Let's Go
(5:46)  2. Hiram
(6:43)  3. Mittens
(5:37)  4. Between Two Worlds
(4:22)  5. Oh No You Didn't
(5:19)  6. Let's Play
(4:21)  7. So Tinha De Ser Com Voce
(6:56)  8. The Great Hall
(7:10)  9. Mean Old Man
(5:40) 10. 360
(6:14) 11. Early Turns to Late

As its title suggests, Between 2 Worlds finds guitarist Chuck Loeb's sublimated split personality at last openly revealed. A household name in smooth jazz circles, the former Steps Ahead luminary this time throws the dice with a program heavier on the straight-ahead jazz component that composes the core of his musical upbringing. Does this project mark the dawn of a new beginning, a passage to this other world? Only time will tell. Customarily dressing the table with a set of his glossy, high-sheen wares, the second half of the program finds the agile guitarist delving into some more substantiated, post-bop-type purlieus, not without the same unbridled enthusiasm and passion that characterizes his pop-jazz work. That said, like those that preceded him in such indissoluble mixing of genres (and aesthetics) Lee Ritenour being a rather convenient comparison the final product unfortunately falls flat in the face of artistically more focused covenants. Too much of this, not enough of that, the apanage of the MOR modicum. From the funky, bluesy stroll of the Robben Ford-tinged "Oh No You Didn't" (featuring daughter Lizzy's soulful vocals) things take a radical turn as Dave Weckl's rollicking kit work introduces the supercharged, intervallic theme of "Let's Play."

A brisk minor blues with booming chordal interjections, the piece emphatically celebrates the precise, George Benson/Pat Martino/Mike Stern school of picking. Halting a brief moment for wife-vocalist Carmen Cuesta's grazing Tom Jobim's tranquil "So Tinha De Que Ser Com Voce," Loeb then launches into the open-strings voicings that open "The Great Hall," a luminous waltz recalling John Abercrombie's mid-70's to mid-80's work that most probably got its title after his former teacher, the great Jim Hall. Though the latter composition is rich enough to endure repeated listening, other tracks may, to some, defy the threshold of tolerance namely, "Hiram," a dedication to the late Hiram Bullock, the title track, and the closing sleeper, "Early Turns To Late." A deft technician with years studio experience behind him, Loeb demonstrates with Between 2 Worlds that his straight-ahead fretwork certainly needs to be reckon with, championed even. But, whether learned jazz listeners will buy into such disparate programming remains improbable. ~ Martin Gladu https://www.allaboutjazz.com/between-2-worlds-chuck-loeb-heads-up-international-review-by-martin-gladu.php

Personnel: Chuck Loeb: guitar; Carmen Cuesta: vocals (2, 4, 7); Lizzy Loeb: vocals (5); Eric Marienthal: saxophones, flute; Till Bronner: trumpet (3); Nathan Eklund: trumpet (1), trombone (1); Brian Culbertson: trombone solo (1); Pat Bergeson: harmonica (11); Will Lee: bass (1, 3, 5), fretless bass melody (2); Gerald Veasley: bass (2, 6); Dieter Ilg: bass (8-11); Dave Weckl: drums (1-3, 5-7); Wolfgang Haffner: drums (4, 8-11); Bashiri Johnson: percussion (1-3); David Charles: percussion (5, 7, 10, 11).

Between Two Worlds

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David Benoit - A Midnight Rendezvous

Styles: Piano Jazz
File: MP3@320K/s
Time: 45:10
Size: 105,5 MB
Art: Front

(4:37) 1. A Midnight Rendezvous
(3:57) 2. Pioneer Town
(4:07) 3. The Bones
(5:08) 4. Floating
(4:14) 5. Long Journey Home
(3:21) 6. @Home
(4:59) 7. You Make Me Smile
(5:49) 8. Generations
(5:20) 9. Waiting For Spring
(3:35) 10. Cabin Fever

After a musical career spanning more than 40 years, pianist and composer David Benoit can rightfully be called a legend. He has always eluded stylistic classification, yet his works circle between contemporary jazz, smooth jazz and jazz. Thus, his new album A Midnight Rendevous, which will be released on February 18, 2022 on Shanachie Entertainment, also offers a colorful bouquet of melodies of different styles. The album is one of those rare today, which with concentrated manpower, implement his musical ideas. Details of the musicians involved in the recording can be found in the credits. To top it all off, the album closes with three recordings made with a big band under Benoit's direction.

The theme of the midnight hour has already occupied Benoit with his famous album and song Freedom At Midnight (1987) and has not let him go since. Thus, tying in with this, he opens his album with the title A Midnight Rendezvous. Berry Gordy, legendary founder of Motown Records loved jazz, smooth harmonies, pretty melodies: "When I heard the song, I clapped my hands and thought: My Goodness!" In effect David Benoit has written such a hit with this new song, that immediately puts you under its spell.

On Pioneer Town David meets keyboardist Jeff Lorber who not only accompanies David's superb piano performance with discreet keyboard sounds and his well-known synth bass, but also refines it in a nuanced way. The Bones is a very attractive song by American singer Maren Morris for her album Girl (2019). Regardless of the profound and uplifting lyrics, the melody deserves a very own autonomy, perfectly staged by David Benoit and his friends. With Floating David Benoit returns to the realm of melodious contemporary jazz which hides a story for which storyteller David Benoit is so well known. Justin Klunk sets some smooth accents on soprano sax. Long Journey Home, a collaboration with bassist Roberto Vally, spreads the aura of a crime film score.

The soulful @Home is anew dominated by Justin Klunk's soprano sax who skillfully accompanies David's thoughtful piano playing. Dave Koz has written You Make Me Smile for his album Lucky Man (1993) and presented a fresh version on his album Live From The Dave Koz Cruise (2019). David takes on the theme in his very own way, internalizing it in his contemplative piano playing. The album closes with three pieces that show the most diverse facets, but have one crucial thing in common. The orchestral buildup in a big band arrangement that seamlessly follows the great big band days of the 50s. David Benoit stays true to himself and his style with A Midnight Rendevous and offers his loyal fans exactly what they expect from him. This is what makes him so successful over the many years. http://www.smooth-jazz.de/firstview/Benoit/AMidnightRendezvous.htm

Personnel: David Benoit-Piano, Conductor, Arranger, Orchestrator; Eric Marienthal-Alto sax, Contractor; Sal Lozano-Alto Sax; Gordon Goodwin-Tenor Sax; Jay Mason-Baritone sax; Wayne Bergeron-Trumpet; Dan Fornero-Trumpet; Dan Rosenblum-Trumpet; Francisco Torres-Trombone; Charlie Morillas-Bass trombone; Dan Schnelle-Drums; Roberto Vally-Acoustic Bass; Kei Benoit, June Benoit-Music Preparation

A Midnight Rendezvous

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George Kahn - Jazz & Blues Revue

Size: 155,2 MB
Time: 66:11
File: MP3 @ 320K/s
Released: 2014
Styles: Blues, Jazz, Soul
Art: Front

01. Cantaloupe Island (4:01)
02. Yes We Can Can (4:56)
03. Summertime (5:56)
04. Beat Me Daddy Eight To The Bar (3:11)
05. Shoo Shoo Baby (4:37)
06. Use Me (5:48)
07. The Boy From New York City/The Way You Make Me Feel (4:17)
08. God Bless The Child (5:22)
09. I'd Rather Go Blind (5:06)
10. Something's Got A Hold On Me (4:31)
11. Rock Me Baby (5:49)
12. Feeling Good (4:49)
13. Afro Blue (7:41)

Billed as the "Sass 'n' Soul World Tour," LA jazz pianist George Kahn presents the Jazz & Blues Revue, his eighth album as leader featuring three of LA's finest female jazz vocalist in his first all-vocal project and departure from previous recordings. On tap, fresh new arrangements of thirteen songs that obviously, not only touch on the jazz and blues landscape but, also include elements from the R&B and soul genres. On vocals throughout the session are Gina Saputo, a Eugene, Oregon native, educator and staple of the LA jazz scene, Crystal Starr winner of the 2011 Hollywood Music Awards for Best R&B singer and Santa Monica's own Courtney Lemmon who released her debut jazz album at the age of fifteen and has appeared on other Kahn recordings.

The pianist provides able support for the singers by assembling a cast of players that include jazz luminaries among them, saxophonist Eric Marienthal and trumpeter Dr. Bobby Rodriguez as well as special guests guitarist Pat Kelly and tenor saxophonist Chuck Manning. Herbie Hancock's "Cantaloupe Island" starts the vocal ball rolling featuring Saputo on lead as the other singers provide the background with solos from Marienthal on the alto and the Dr. on the horn jazzing up the piece. Kahn and the band introduces what seems, at least in the beginning, like a New Orleans styled soulful version of the Gershwin standard "Summertime," but then develops nicely into a percussive Latin jazz tune with vocalist Starr doing the honors while M.B. Gordy lays down the percussion.

The three vocalist become the newest version of the fabulous Andrews Sisters of the 30s and 40s with a boogie-woogie-styled romp on "Beat Me Daddy Eight to the Bar" and lay down one mean version of the popular Bill Withers song "Use Me" complete with funky rhythms and superlative piano lines from the leader. Songbird Saputo leads a sassy rendition of the time-honored Billie Holiday classic "God Bless the Child" as Marienthal's expressive alto and the other ladies, do a little blessing of their own on this tune. The Gospel and soul sound is alive and well on the Etta James piece "Something's Got A Hold On Me" with songstress Starr taking the lead and propelling her crisp sharp vocals on a swinging tune punctuated by Kelly's rock-styled guitar riffs.

This vocal experience winds down with Lemmon voicing a stellar arrangement of Anthony Newley's "Feeling Good" while a terrific read of the Mongo Santamaria standard and finale tune "Afro Blue," provides some of the best instrumentals of the recording. Kahn states that "each of my albums features a wide range of styles..." and this new album continues in that tradition with LA songbirds Saputo, Starr and Lemmon voicing their interpretations of the jazz, blues, soul and R&B sounds contained in George Kahn's Jazz & Blues Revue, a vocal jazz statement that begs to be heard. With great vocals, superb instrumentals and an exciting selection of music, this is vocal jazz at its best.

Personnel: George Kahn: piano; Courtney Lemmon: vocals; Gina Saputo: vocals; Crystal Starr: vocals; Lyman Medeiros: bass; M. B. Gordy: drums, percussion; Eric Marienthal: alto saxophone, soprano saxophone; Dr. Bobby Rodriguez: trumpet; Chuck Manning: tenor saxophone (2, 11); Pat Kelly: guitar (2, 3, 8, 11).

Jazz & Blues Revue

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Dan Siegel - Faraway Place

Styles: Piano,Accordion Jazz
File: MP3@320K/s
Time: 42:47
Size: 99,9 MB
Art: Front

(4:17) 1. Old School
(4:27) 2. Sentimental Story
(4:08) 3. Tried and True
(3:41) 4. Something You Said
(3:57) 5. Curves Ahead
(4:07) 6. Faraway Place
(4:20) 7. Some Time Ago
(3:16) 8. Bluebird
(2:19) 9. Your Smile
(3:54) 10. Looking Up
(4:14) 11. Once Again

Like many titles released in 2021, Dan Siegel's Faraway Place is a product of the COVID-19 pandemic. It was conceived and recorded mostly in isolation by a stellar cadre of musicians: drummers Vinnie Colaiuta, Steve Gadd, and Omari Williams, saxophonist Eric Marienthal, trumpeter/trombonist Lee Thornburg, guitarist Allen Hinds, acoustic bassist Brian Bromberg, electric bassists Abraham Laboriel and Dwayne "Smitty" Smith, and percussionist Lenny Castro. Brazilian vocalist Rogerio Jardim also appears on two tracks. Siegel composed the music in isolation and attended two socially distanced sessions in a Los Angeles studio with Gadd and Colaiuta. He sent the finished rhythm tracks with piano demos to his cast and had them add their parts, then added finished piano, accordion, organ, and other keyboards to frame these 11 short to mid-length jazz tunes, offered in a variety of styles. "Old School" commences with a funky soul-jazz vamp à la the Cadet era Ramsey Lewis Trio, appended by Castro's bubbling congas around the piano and grooving horns with a chart as fine as Lee Morgan's "Sidewinder." Siegel layers a B-3 organ under his meaty piano fills and accents before Hinds adds funky wah-wah guitar atop Bromberg's bassline as the jam begins to cook. "Sentimental Story" is a midtempo ballad framed by Castro's fluid percussion and Gadd's intricate brushwork. Hinds' chord voicings and Bromberg's resonant bassline allow Siegel to explore a melody that nods to the influence of Vince Guaraldi.

"Tried and True" commences with a slippery, funky piano groove but quickly evolves as the horn section, bassline, and lead guitar lines build a groove recalling Gaucho-period Steely Dan. "Something You Said" is the first of four tunes to feature Siegel's accordion playing. Here it whispers under the shimmering piano that crisscrosses folk and pop lyricism as Hinds and the rhythm section dance around them. Siegel's solo expands the tune into post-bop territory. "Curves Ahead" with Williams on drums and Smith on electric bass, weds the vintage soul-jazz to Latin and contemporary jazz with a smoking electric piano solo and wafting organ. The brief "Your Smile" weds a classical chamber piece with Baroque overtones to samba. Only two-minutes long, it features Jardim's airy, wordless vocals atop piano, upright bass, bassoon, English horn, and viola. Hinds' pulsing wah-wah guitar and Laboriel's simmering electric bassline underscore the prog rock-cum-contemporary jazz groove that colors "Looking Up." Colaiuta's rolling breaks and accents frame Siegel's crystalline chords and canny right-hand fills before he delivers a downright funky solo. Closer "Once Again," offers stylish contemporary post-bop with just the hint of a Latin tinge as Siegel walks the line between swing and soul and Bromberg digs deep into wood to extract the groove with the elegant syncopation of Colaiuta. Faraway Place stands with Siegel's best work for its complex yet utterly accessible approach to rhythmic interplay and kaleidoscopic harmonic invention, all rendered in relatively brief but beautifully arranged compositions.~ Thom Jurek https://www.allmusic.com/album/faraway-place-mw0003544032

Personnel: Piano, Keyboards, Accordion: DAN SIEGEL; Guitar: ALLEN HINDS; Acoustic Bass: BRIAN BROMBERG; Electric Bass: ABRAHAM LABORIEL (3, 7, 10), DWAYNE “SMITTY” SMITH (5); Drums: VINNIE COLAIUTA, STEVE GADD (2, 9), OMARI WILLIAMS (5); Percussion: LENNY CASTRO; Trumpet, Trombone: LEE THORNBURG; Saxophone: ERIC MARIENTHAL; Vocal: ROGERIO JARDIM (8, 9); Violin: CHARLIE BISHARAT; Cello: JACOB BRAUN English Horn: CHRIS BIETH Bassoon: DAMIAN MONTANO Hymn Choir: TOM McCAULEY, ALLEN HINDS, DAN SIEGEL (7)

Faraway Place

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George Kahn - ...Compared To What

Styles: Straight-ahead/Mainstream
Year: 2004
File: MP3@320K/s
Time: 62:55
Size: 144,5 MB
Art: Front

(8:23)  1. On Green Dolphin Street
(4:56)  2. Mercedes the Lady
(5:26)  3. Compared to What
(7:06)  4. 5 to Get Ready 10 to Go
(6:41)  5. Too Much Sax
(6:04)  6. Woodstock
(5:15)  7. Soul Sause
(5:58)  8. Gnomesayin'
(7:14)  9. Alice in Wonderland
(5:48) 10. The Hero's Journey

This crisp, well-crafted, straight-ahead (mostly) set opens auspiciously, with tenor saxophonist Justo Almario wandering into the studio blowing solo, wailing, strolling around seemingly aimlessly; but you can feel there's a method to his melodic madness. About a minute later the bass throbs in behind him with repeated two note statements, followed by the drums, and finally the leader, George Kahn, appears, and the tune gels into the familiar "On Green Dolphin Street," in a finely focused up-tempo mode.

Kahn says playing a solo in front of this band—tenor and trumpet in front of a rhythm section, mostly is like driving a well-tuned Ferrari, and that's a pretty apt comparison for this sound: clean, synchronized, and lightly lubricated for an effortless forward momentum provided by the drive train/rhythm section.

"Mercedes the Lady" introduces Latin sounds. Kahn is adept in an array of styles here. "Compared to What" proves itself a funkier, harder-driving version of the Les McCann/Eddie Harris hit from '68, featuring vocalist Courtney Lemmon, whose soulful take on the lyrics show them to be as relevant in these turbulent times as they were in the late sixties. "5 to Get Ready 10 to Go" has a Kind of Blue -ish feel, with some marvelous mute work by trumpeter John Fumo.

Saxophonist Eric Marienthal sits in on two tunes. His tone, sharp and stinging, always brings a modern edge to the sound. I've loved his playing ever since I first heard it in Chick Corea's Elektric Band's Inside Out (GRP, '90); and he doesn't disappoint here. He just cooks, with a clean, high heat on "Too Much Sax," adding some fire to the title tune as well.

An excellent set, with different styles deftly mixed and held together by the stellar rhythm team behind a bunch of spirited blowing. The title tune alone is worth the price of admission, but then so are all the others. Kahn, piano; Alex Acuna, drums and percussion; and Brian Bromberg, bass: they've got to put out a trio set sometime. ~ Dan Mcclenaghan   

http://www.allaboutjazz.com/php/article.php?id=15777#.Ur9FAbTJI0g

Personnel: George Kahn, piano; Alex Acuna, drums and percussion; Justo Almario,tenor and soprano saxophones; Brian Bromberg, bass; John Fumo, trumpet, flugelhorn; with guests Eric Marienthal, tenor and alto saxophones; Courtney Lemmon, vocal on "Compared to What";  Ira Ingler, guitar

...Compared To What

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Randy Brecker, Eric Marienthal - Double Dealin'

Styles: Tumpet And Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 49:17
Size: 114,5 MB
Art: Front

(4:10)  1. Double Dealin’
(5:05)  2. 3 Deuces
(4:48)  3. Fast Lane
(5:34)  4. Mind The Fire - For Chuck
(5:52)  5. Sambop
(4:30)  6. You Ga (Ta Give It)
(5:39)  7. True North
(4:34)  8. The Hipster
(4:15)  9. Jetlagged
(4:46) 10. Habañero

It can be difficult for two giants to share space without colliding into each other. It alternatively can be a bold mix of dynamic forces. Double Dealin' (Shanachie, 2020) robustly falls into the second category. It took many years for Randy Brecker and Eric Marienthal to finally find the right project to come together on. The long wait is rewarded with energetic performances in this funk and groove extravaganza. The title track kicks the record off with more than a splash of what was to follow. Brecker's signature sound pops in new digs and is met by the gliding sophistication of Marienthal's melodic tapestry. Marienthal's own engaging solo is capped by the horn section in a tune that establishes what is to be the thread of the record. "Double Dealin'" is one of five Marienthal and George Whitty co-writes on the album. Whitty, who produced the record, contributed the tune "3 Deuces" to the record. The horn section floats through this Whitty arrangement that features a silky solo from Marienthal. Whitty is to be noted as producing, arranging, composing and playing throughout the record. His skillset left a major imprint on the core foundation of this record.

"Fast Lane" is funk in fifth gear. Dave Weckl and John Patitucci join in and somehow avoid a speeding ticket driving this number hard and creating a furious rhythm section pace for Brecker and Marienthal to ride. Their connectivity is never more apparent, as Brecker plays with gusto and Marienthal reaches in for a growl. It's a high wire act from start to finish. Sequencing to a slow down, the beautifully sentimental "Mind the Fire" is offered as a tribute to late guitarist Chuck Loeb. A long-time friend and band mate of both Brecker and Marienthal, Loeb had a special character to his playing that was honored in this Whitty/Marienthal composition. Played with heart and elegance, Brecker's understated grace brings a soft emotional current to this warm remembrance. The ensemble skyrocketed back to the high-end funk and groove display with Brecker's saucy "Sambop." Brecker breathes life into a nourishing solo, flourishing into a tantalizing, sensational riff that bridges to Marienthal. Grateful for the set-up, Marienthal ignites into a powder keg of his own in this funky barn burner. Patitucci and Weckl's resilient and energetic push are key to this tune's flavor and rhythmic cadence.

Brecker's second compositional entry to Double Dealin' is "You Ga (To Give It)." They give us an exhilarating funk rush that is laced with spirited note selections by Brecker and Marienthal. It's a tune that swings hard with improvisational bliss. The sophisticated "True North" manages to take you to a different place while staying in the bounds, or the aforementioned thread, of the record. The Whitty/Marienthal co-write is to be noted for its synergy and delightfully intelligent play from the horn section as a unit. Some big playing with some big chops by both Brecker and Marienthal as they gravitated due north with significant interplay. It would be remiss not to mention Patitucci's acoustic bass treatment on this number. Whitty's "The Hipster" is just a whole lot of fun. All aboard the funk train. The groovin' locomotive shimmies down the tracks with abandon and no stops along the way. Brecker's trip to the hardware store pays off, as he gets down and blows freely with a plunger mute. Some really great vibes on this tune make for some chill beats and cool moments. Whitty sneaking in to stretch out on a solo is a well-placed secret weapon. Well conducted, everyone is indeed on board and riding in first class. Brecker's wife, talented saxophonist Ada Rovatti, brought a song to the mix entitled "Jetlagged." Slick licks from Brecker and Marienthal are employed here in a song that has more umph than the sleepy title might imply. Creatively written and arranged, it is notable that Rovatti wrote engaging parts for each member of the ensemble. The riffs spew out off of tight edges in perhaps the most wonderfully complex piece on the record.

Double Dealin' finishes in the high style that was ridden and presented from top to bottom. Not surprisingly, "Habanero" is hot and spicy. The fifth Whitty/Marienthal offering is certainly a leave 'em wanting more conclusion. Brecker and Marienthal seize the moment and leave nothing on the table. Brecker did what Brecker does. A note selection gem performed with verve. Marienthal responds in a brisk and flavorful manner with an effervescent solo of his own. The word double is represented here in the scope of appreciation or listening methodology. There is plenty of meat on the bone for the jazz aficionado that wants to dig deep. 

Also, there is the opportunity to just take it easy, ride the grooves, and have some fun/funk. In a year dampened by pandemic woes, Brecker and Marienthal opt to raise spirits in presenting this high-end celebration of music and life. ~ Jim Worsley https://www.allaboutjazz.com/double-dealin-randy-brecker-and-eric-marienthal-shanachie-records

Personnel: Randy Brecker: trumpet; Eric Marienthal: saxophone; George Whitty: keyboards; Dave Weckl: drums; John Patitucci: bass.

Double Dealin'

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Chick Corea Elektric Band - Eye of the Beholder

Styles: Piano Jazz 
Year: 1988
File: MP3@320K/s
Time: 53:28
Size: 122,9 MB
Art: Front

(2:43)  1. Home Universe
(4:51)  2. Eternal Child
(2:58)  3. Forgotten Past
(4:55)  4. Passage
(7:55)  5. Beauty
(1:53)  6. Cascade - Part I
(5:18)  7. Cascade - Part II
(5:50)  8. Trance Dance
(6:38)  9. Eye of the Beholder
(6:54) 10. Ezinda
(3:26) 11. Amnesia

During an era when the word "fusion" was applied to any mixture of jazz with pop or funk, Chick Corea's Elektric Band reinforced the word's original meaning: a combination of jazz improvisations with the power, rhythms and sound of rock. Eye of the Beholder, which found guitarist Frank Gambale, saxophonist Eric Marienthal and bassist John Patitucci displaying increasingly original solo voices, is one of this group's finest recordings and ranks with the best fusion of the latter half of the 1980s. ~ Scott Yanow  https://www.allmusic.com/album/eye-of-the-beholder-mw0000652324

Personnel: Chick Corea – synthesizer, piano, arranger, keyboards, producer, engineer, liner notes, mixing; Frank Gambale – guitar; Eric Marienthal – saxophone; John Novello – synthesizer (track 2 only); John Patitucci – bass;  Dave Weckl – drums

Eye of the Beholder

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Chick Corea Elektric Band - Paint the World

Styles: Piano
Year: 1993
File: MP3@320K/s
Time: 74:33
Size: 171,1 MB
Art: Front

(3:58)  1. Paint the World
(5:32)  2. Blue Miles
(6:51)  3. Tone Poem
(5:49)  4. CTA
(1:43)  5. Silhouette
(6:08)  6. Space
(7:32)  7. The Ant & The Elephant
(5:58)  8. Tumba Island
(7:37)  9. Ritual
(7:18) 10. Ished
(8:10) 11. Spanish Sketch
(5:01) 12. Final Frontier
(2:50) 13. Reprise

Chick Corea's Elektric Band II found bassist John Patitucci, drummer Dave Weckl and guitarist Frank Gambale going out on their own and being replaced by Jimmy Earl, Gary Novak and Mike Miller. Saxophonist Eric Marienthal was the only sideman from the first Elektric Band to stick with Corea. Although the new members are not as distinctive as their predecessors, the high-quality material played on this release (which includes Jimmy Heath's "CTA," "Blue Miles" and a variety of Corea originals) is very jazz-oriented and occasionally there are straightahead sections. This set is recommended even to listeners who have not yet acquired a taste for fusion. ~ Scott Yanow https://www.allmusic.com/album/paint-the-world-mw0000101865

Personnel: Piano, Keyboards, Programmed By [Synth], Composed By, Mixed By, Liner Notes, Producer – Chick Corea; Saxophone – Eric Marienthal; Bass – Jimmy Earl; Drums – Gary Novak. 

Paint the World

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Eric Marienthal - Voices of the Heart

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 51:59
Size: 120,7 MB
Art: Front

(4:00)  1. Voices of the Heart
(4:18)  2. Your Eyes
(4:11)  3. Blue Space
(2:49)  4. Brazilian Dream
(5:04)  5. Premonition
(4:48)  6. Tippin'
(3:54)  7. Being with You
(4:46)  8. Harvest Dance
(4:17)  9. Written in the Wind
(4:26) 10. Walk Like An Emu
(4:31) 11. Someone Said
(4:50) 12. Backstep

Altoist Eric Marienthal's debut as a leader has four notable guest appearances by his employer, keyboardist Chick Corea, and one spot for guitarist Frank Gambale. Otherwise, he is generally joined by a quintet also including keyboardist Jim Cox, the great bassist John Patitucci, drummer Vinnie Colaiuta, and guitarist Pat Kelley. The ten obscure songs (only two by the leader) are worthwhile, if not overly memorable, but Marienthal's soulful solos are always fun to hear. ~ Scott Yanow https://www.allmusic.com/album/voices-of-the-heart-mw0000195867

Voices of the Heart

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Dave Weckl - Heads Up

Styles: Jazz, Post Bop
Year: 1992
File: MP3@320K/s
Time: 48:57
Size: 113,6 MB
Art: Front

(5:13)  1. 7th Ave. South
(6:41)  2. Heads Up
(5:21)  3. Taboo
(5:34)  4. Tomatillo
(5:11)  5. Peripheral Vision
(5:32)  6. Tee Funk
(5:44)  7. Against The Wall
(5:38)  8. Full Moon
(3:58)  9. Trigger Happy

On drummer Dave Weckl's GRP set the rhythms are funky but complex and intelligent, Weckl's sidemen are very complementary and the grooves are quite infectious. Altoist Eric Marienthal and tenor saxophonist Steve Tavaglione get to blow up a storm twice apiece over vamps, Jay Oliver's synth spot recalls Chick Corea on "Tomatillo" and there are strong cameos by trumpeters Randy Brecker and Jeff Beal. 

Listeners who hate the sound of electronics would best avoid this date, but within its genre Heads Up is a superior effort. ~ Scott Yanow https://www.allmusic.com/album/heads-up-mw0000077788

Personnel: Drums – Dave Weckl; Keyboards, Programmed By [Synth] – Jay Oliver; Soprano Saxophone – Eric Marienthal, Steve Tavaglione; Trumpet – Randy Brecker, Jeff Beal ; Bass – Jimmy Earl, John Patitucci.

Heads Up

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Dave Siebels With Gordon Goodwin's Big Phat Band - Dave Siebels With Gordon Goodwin's Big Phat Band

Styles: Jazz, Big Band
Year: 2008
File: MP3@320K/s
Time: 51:45
Size: 120,1 MB
Art: Front

(5:24)  1. The Coupe
(5:09)  2. Not That There's Anything Wrong With That
(5:19)  3. Da Blues
(5:37)  4. Girl Talk
(6:10)  5. I Wish
(5:05)  6. The Gospel According to Hammond
(4:04)  7. I Love You Even More Again
(3:54)  8. The Cat
(4:41)  9. Sort of Like a Samba
(6:18) 10. The Eleventh Hour

A thrilling collaboration between one of the finest jazz ensembles in the business and a keyboardist whose résumé extends beyond jazz, the self-titled Dave Siebels with Gordon Goodwin's Big Phat Band is, quite frankly, one riveting session of big band music fronted by Siebels' commanding performance on the Hammond B3 organ. Not surprising, when the artistic content responsible for this recording is considered. Siebels has arranged and produced 27 albums, scored 35 films and conducted 65 musical variety shows. Goodwin's Big Phat Band has received three recent Grammy nominations, with "Act Your Age" making a total of eleven. With musicians like Wayne Bergeron, Andy Martin, Eric Marienthal, Brian Scanlon and Pete De Siena comprising some of the personnel, the Big Phat Band is a world-class orchestra that any musician would love to have as a backup band. The varied repertoire does contain some charts where the majority of the band is silent, allowing Siebels to perform with a select few players. For example, Neal Hefti's "Girl Talk," performed as a trio with drummer Dave Spurr and guitarist Grant Geissman, just happens to be one of the best readings of this tune around. In a quartet setting featuring Roy Wiegand on a light trumpet, bassist Michael George and Spurr on the sticks, Siebels' "I Love You Even More Again" comes across more like a wedding song than a love ballad. With saxophonist Ed Smart joining Wiegand, Spurr and George, "Sort of Like a Samba" is one of Siebels' strongest. Still, this is a big band album, and the orchestration starts with Gordon Goodwin's arrangement of Siebels' opener, "The Coupe," a hard-driving burner with the organist providing a Jimmy Smith-like performance, emulating his hero and leading a gutsy showing from the band, including solos from Scanlon and Geissman. 

Alto saxophonist Merienthal does some of the honors on the raw and funky "Not That There's Anything Wrong With That," but it is actually Siebels who delivers a blistering performance on the organ on this high-octane number. "Da Blues" releases the fine brass section, which goes on a real tear. The band provides a fresh new treatment to Stevie Wonder's "I Wish," showcasing the talents of band leader Goodwin, who delivers the tenor solo in support of Siebels' firm organ play. The only other standard the Lalo Schifrin special, "The Cat" provides a new big band arrangement featuring Sal Lozano's steamy flute solo. The album ends on the drum-pounding percussive blue- chip chart, "The Eleventh Hour" as Dave Siebels and Gordon Goodwin's Big Phat Band complete a dynamic album of big band jazz with elements of rock and Latin jazz to spice up the music. ~ Edward Blanco https://www.allaboutjazz.com/dave-siebels-with-gordon-goodwins-big-phat-band-dave-siebels-self-produced-review-by-edward-blanco.php

Personnel: Dave Siebels: Hammond B3 organ; Gordon Goodwin: piano; Rick Shaw: bass; Grant Geissman: guitar; Bernie Dresel: drums; Brad Dutz: percussion; Wayner Bergeron: trumpet; Dan Fornero: trumpet; Pete De Siena: trumpet; Dan Savant: trumpet; Andy Martin: trombone; Alex Iles: trombone; Charlie Morillas: trombone; Craig Ware: bass trombone; Eric Marienthal: alto sax; Sal Lozano: alto sax; Brian Scanlon: tenor sax; Jeff Driskill: tenor sax; Jay Mason: baritone sax; Dave Spurr: drums (4, 7, 9); Michael George: bass (7, 9); Ed Smart: tenor sax (9).

Dave Siebels With Gordon Goodwin's Big Phat Band

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Gordon Goodwin's Big Phat Band - The Phat Pack

Styles: Big Band
Year: 2006
File: MP3@320K/s
Time: 75:12
Size: 173,6 MB
Art: Front

(6:07)  1. Cut n’ Run
(3:39)  2. Too Close For Comfort
(6:36)  3. Count Bubba’s Revenge
(6:13)  4. Play That Funky Music
(6:39)  5. The Phat Pack
(4:47)  6. Hunting Wabbits 2 (A Bad Hare Day)
(7:36)  7. La Almeja Pequena (The Little Clam)
(6:53)  8. Get in Line
(5:09)  9. Attack of the Killer Tomatoes
(5:30) 10. Under the Wire
(6:28) 11. Whodunnit?
(5:20) 12. It Was a Very Good Year
(4:08) 13. Ever Braver, Ever Stronger (An American Elegy)

The suave and irrepressible Rat Pack, whose urbane image was shrewdly nurtured for so many years by Ol' Blue Eyes, meistersinger Frank Sinatra himself, is no longer with us. Luckily, we have as partial solace The Phat Pack, the convivial third recording by jack-of-all-trades Gordon Goodwin's Big Phat Band. Goodwin bows respectfully to his illustrious predecessors by reprising two songs closely associated with members of the Rodent Gang, Sinatra's "It Was a Very Good Year" and Sammy Davis Jr.'s "Too Close for Comfort," also appending an evocative title song that could have served as the Pack's overture in a cabaret or concert hall. One of the more engaging aspects of any album by Goodwin's exemplary ensemble is that one never knows quite what to expect from moment to moment as the music veers in a heartbeat from straight-ahead swing to funk, Latin, neo-hip shuffle and back again not to mention such wild anomalies as "Hunting Wabbits 2," Goodwin's quirky salute to Elmer Fudd and those incomparable Warner Bros. cartoons from the '40s and '50s (for "Hunting Wabbits 1," see the BPB's previous album, XXL). Needless to say, the all-star band is razor-keen throughout, lending power and charisma to Goodwin's personable compositions and charts. 

Soloists aren't named, but that has to be Eric Marienthal's nimble soprano on "Wabbits," his aggressive alto on "Get in Line" and "Attack of the Killer Tomatoes," Andy Martin's supple trombone on "Tomatoes," Wayne Bergeron's screaming trumpet on "La Alma Pequena (The Little Clam)." That's ironic, as clams are almost never a part of Bergeron's musical diet. As usual, Goodwin has invited several well-known guest artists to sit in, and all of them are superb. Vocalist Dianne Reeves positively nails "Too Close for Comfort," alto David Sanborn is suitably raunchy on "Play That Funky Music," ace clarinetist Eddie Daniels burns rubber on the grueling "Under the Wire," and the vocal group Take 6 takes charge on "It Was a Very Good Year." Another Goodwin staple is the patriotic finale, in this case the poignant "Ever Braver, Ever Stronger (An American Elegy)." So much to say, so little space remaining. Highlights (besides those already mentioned) include "Cut 'n Run," "Count Bubba's Revenge," "Whodunnit?" Well, let's be honest. Everything else. And it should be noted that the disc is accompanied by a DVD with soundtrack, photos, lyrics and other extras. Alas, I was unable to play my copy, as it requires a compatible Direct Show DVD player, which I don't have. As Sinatra would have intoned, "That's Life." Goodwin's debut album, Swingin' for the Fences, was Grammy-nominated, XXL earned one (in a minor category), and if this isn't a leading contender for the top big band prize, I'll eat broccoli (yuck!) with my supper (please don't tell my wife I said that). ~ Jack Bowers https://www.allaboutjazz.com/the-phat-pack-gordon-goodwin-immergent-records-review-by-jack-bowers.php

Personnel: Gordon Goodwin: leader, composer, arranger, piano, tenor saxophone; Wayne Bergeron, Dan Fornero, Bob Summers, Dan Savant, Pete DeSiena (4,6,12): trumpet; Eric Marienthal: alto, soprano saxophone, flute; Sal Lozano: alto saxophone, flute, piccolo; Brian Scanlon, Jeff Driskill: tenor saxophone, clarinet; Jay Mason: baritone saxophone, bass clarinet; Andy Martin, Alex Iles, Charlie Morillas, Craig Ware, Craig Gosnell (2): trombone; Grant Geissman, Carl Verheyen (4): guitar; Rick Shaw: acoustic, electric bass; Bernie Dresel, Ray Brinker (10,11,13): drums; Luis Conte, Brad Dutz (4,6,12): percussion. Special guests: Dianne Reeves (2): vocal; David Sanborn (4): alto saxophone; Eddie Daniels (10): clarinet; Take 6 (12): vocal.

The Phat Pack

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Lisa Hilton - Jazz After Hours

Styles: Piano Jazz 
Year: 2004
File: MP3@320K/s
Time: 36:33
Size: 83,9 MB
Art: Front

(3:33)  1. Malibu
(4:24)  2. Dance with Me
(3:27)  3. Waltz for Debby
(3:32)  4. Nocturne
(3:44)  5. All Blues
(3:12)  6. Just Do It
(3:53)  7. Secret Love
(2:57)  8. All That
(2:28)  9. Azure
(2:21) 10. When We Met
(2:57) 11. Listen to Your Heart

“Hilton leaves a signature so distinct and genuine that audiences call out for more consistently. One would say her Bill Evans style talent is powerful, however, I feel she is building a note by note, composition by composition, a true niche in jazz today, unlike any other. Ms. Hilton has staying power”. ~ Karl Stober/JazzTrenzz

“Remisiscent of some of Dave Brubeck’s work” ~ RJ Lannan/The Sounding Board

“A vibrant composer and exceptional pianist with the passion and panache few artists capture” ~ Karl Stober/JazzTrenzz

“‘Jazz After Hours’ is a great album for relaxing and reenergizing, a backdrop for an intimate dinner, or even good party music” ~ Kathy Parsons/Solo Piano Publications
“When Lisa tickles the keys in her unique, playful style, you know she’s having fun” 

~ Andy Parrish, General Manager/WVSU 

“Lisa has outdone herself with this album… exquisitely setting all the right moods with the help of some very talented musicians. I absolutely LOVE this album” ~ Eric Cohen, Music Director/WAER

“Very rarely does an artist come along with the versatility of moving between such diverse styles as to nail Gershwin’s My Love is Here to Stay’ then Jobim’s Girl From Ipanema, while saving just enough for my favorite, ‘Just For Fun” ~ Al Santos/WJZW https://lisahiltonmusic.com/jazz-after-hours-album/

Personnel:  Lisa Hilton/piano, Eric Marienthal/sax, Reggie McBride/bass, Tal Bergman/drums

Jazz After Hours

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Eric Marienthal - Walk Tall: Tribute to Cannonball Adderley

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 55:19
Size: 127,5 MB
Art: Front

(5:24)  1. Mercy, Mercy, Mercy
(4:23)  2. Work Song
(4:39)  3. Walk Tall
(3:31)  4. Skylark
(4:34)  5. Imagine That
(5:30)  6. The Way You Look Tonight
(4:37)  7. Here In My Heart
(4:23)  8. Sunstone
(3:30)  9. If You Need Me To
(5:28) 10. Country Preacher
(5:01) 11. Unit 7
(4:13) 12. Groove Runner

Contemporary sax whiz and Chick Corea Elektric Band veteran Eric Marienthal has been appearing with impressive frequency on other people's sessions, while occasionally releasing his own CDs. Until now, his more memorable performances have been those he's rendered in service to others. He makes good progress in remedying that situation with his latest,Walk Tall, a tribute to Cannonball Adderley. This program has one foot firmly planted on traditional soil (mostly during the tunes from Adderley's repertoire and a few standards) and the other foot on contemporary turf. Despite the fact that varying amounts of keyboard, bass, and drum programming are added even to the Adderley tunes, it's a pleasing mixture of old and new. The disk opens with a live recording of Cannonball introducing Joe Zawinul's "Mercy Mercy Mercy," with the instrumental track then fading out and the new recording fading in, in a not-too-awkward manner. Marienthal expressively caresses the lead lines while the programming churns in the background. "Work Song" and "Walk Tall" follow, then there's a beautiful ballad rendition of "Skylark." Other highlights include a medium-tempo spirited romp celebrating "The Way You Look Tonight" and the foot-tapping, bass-walking easy swing of "Unit 7." All in all, this is a pretty tasty deal. It's similar in aspirations to theTwist of JobimCD which inaugurated the i.e. music label, that is, placing an artist's work from a previous era in a more modern setting. Some of the contempo luminaries who contribute arrangements, performances, and production to the affair include Harvey Mason, Lee Ritenour, Rob Mullins, Russell Ferrante, Jeff Lorber, and John Beasley. ~ Dave Hughes https://www.allaboutjazz.com/walk-tall-eric-marienthal-ie-music-review-by-dave-hughes.php

Personnel:  Eric Marienthal - alto or soprano saxophone;  Lee Ritenour, Alan Hinds, Michael Thompson, Jeff Lorber - guitar Lee Ritenour, Rob Mullins, Harvey Mason Jr., Jeff Lorber - drum, bass, and keyboard programming;  John Beasley, Russell Ferrante, Ronnie Foster - piano, keyboards Melvin Davis, Reggie Hamilton, Chuck Domanico, Stanley Clarke, Vail Johnson - bass;  Harvey Mason - drums;  Chris Botti, Chuck Findley - trumpet;  Ralph Morrison III - violin;  Luis Conte - percussion;  Kevyn Lettau, Philip Ingram, Heather Mason, Michael Mishaw, Stevie Russell - vocals

Walk Tall: Tribute to Cannonball Adderley

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Eric Marienthal - One Touch

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 48:54
Size: 112,3 MB
Art: Front

(4:33)  1. No Doubt About It
(4:03)  2. That's The Way
(4:48)  3. One For James
(5:26)  4. Walk Throught The Fire
(4:36)  5. Ouch !
(5:08)  6. Westland
(6:00)  7. The Village
(4:40)  8. Tanto Amor
(3:57)  9. Backtalk
(5:39) 10. Where Are You ?

Altoist Eric Marienthal (who is also heard on tenor, soprano and baritone) plays well throughout One Touch but he is the only reason to acquire this disc. The backup, which includes keyboardist-producer Jeff Lorber, a few vocalists and guest appearances from pianist David Benoit and bassist John Patitucci, is mostly pretty anonymous. The originals are forgettable and usually fade out when the music gets too heated. With all of the selections clocking in between three-and-a-half and almost five minutes, potential radio airplay was obviously the main purpose behind the music, which is consistently commercial, accessible, mildly soulful and very predictable. At best, One Touch succeeds as background music but a close listen will frustrate listeners who know that Eric Marienthal is capable of much more. ~ Scott Yanow https://www.allmusic.com/album/one-touch-mw0000618989

Personnel:  Eric Marienthal - alto saxophone (1, 3, 4, 5, 6, 7, 9); soprano saxophone (2, 8, 10); tenor saxophone (3); baritone saxophone (3);  Dave Koz - soprano saxophone (2);  Paul Jackson, Jr. - guitar (1, 2, 4, 6, 9);  James Harrah - guitar (3, 7);  Oliver Leiber - guitar (5);  Peter Sprague - guitar (8);  Alec Milstein - bass (1, 2, 4, 5, 6, 9);  John Pattitucci - bass (1, 5: solos);  Jimmy Haslip - bass (3, 7, 8, 10);  Jeff Lorber - synthesizers, sequencing, drum programming (1, 2, 4, 5, 6, 9);  Russell Ferrante - piano, keyboards (3, 7, 8); sequence programming (3, 7);  David Benoit - piano, keyboard sequencing (10);  John Robinson - drums (3, 7, 10);  Paulinho Da Costa - percussion (1, 2, 4, 5, 6, 9);  Alex Acuña - percussion (7, 8, 10); drums (8);  Wayne Bergeron - trumpet (3);  Andy Martin - trombone (3);  Carl Anderson - vocals (4);  Ivan Lins - vocals (8);  Kiki Ebsen - background vocals (2);  Randy Hall - background vocals (2);  Benet - background vocals (4)

One Touch

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Michael Franks - Rendezvous in Rio

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 52:39
Size: 129,8 MB
Art: Front

(5:26)  1. Under the Sun
(5:36)  2. Rendezvous in Rio
(5:47)  3. The Cool School
(4:40)  4. Samba do Soho
(5:16)  5. The Critics Are Never Kind
(4:27)  6. Scatsville
(4:24)  7. The Chemistry of Love
(5:41)  8. Hearing 'Take Five'
(4:30)  9. The Question is Why
(6:46) 10. Songbirds

Michael Franks' laid-back vocals have made him the choice of a new generation of cool school attendees. With Rendezvous in Rio, his debut release for Koch Records, Franks continuously shows why he is still at the top of his game with brand-new songs that will soothe, undo your stresses, or put you in a romantic mood. The various musical styles on the CD include two Brazilian sambas, one titled "Under the Sun," pointing you toward the Southern Hemisphere and the warmth of Rio de Janeiro and Bahia. A master of phrasing and elongated notes, Franks tells his great stories in several tempos that literally have you wanted to take this journey with him. "Rendezvous in Rio" starts with Café's percussive whistle and the rhythmic flow of Romero Lubambo's guitar. Chris Hunter's sax and flute solos also heighten the imagery of Franks' sexy vocals. "The Cool School" starts with the beautiful guitar accompaniment of Chuck Loeb and continues under Franks' vocals with a hushed flow of cool/smooth riffs that make this song one of the best on the CD. With the artistry of such respected contemporary jazz artists as Jeff Lorber, Jimmy Haslip, Chuck Loeb, and Alex Al and the lilt of the carnival whistle, Michael Franks has conspired to entertain you, and has succeeded. You're sure to enjoy this very special Rendezvous in Rio. Recommended. ~ Paula Edelstein https://www.allmusic.com/album/rendezvous-in-rio-mw0000442477

Personnel: Michael Franks (vocals); Robbie Dupree (vocals, background vocals); Carmen Cuesta-Loeb, Larry Hoppen, Pamela Driggs (vocals); Chuck Loeb (guitar, piano, keyboards, programming); Dwight Sills, Marc Shulman, Mike DeMicco, Romero Lubambo (guitar); Gary Meek (flute, saxophone, tenor saxophone); Chris Hunter (flute, saxophone); Andy Suzuki (woodwinds); Roger Burn (piano, keyboards, vibraphone); Jeff Lorber (keyboards, programming, drum programming, percussion programming); Charles Blenzig (keyboards, programming); Scott Petito (keyboards); Jimmy Haslip (electric bass); Jerry Marotta (drums, percussion); Michael White , Michael White , Wolfgang Haffner, Brian Dunne, Vinnie Colaiuta (drums); Café (percussion); Leslie Ritter, Veronica Nunn, Beth Reineke (background vocals); Eric Marienthal (alto saxophone, tenor saxophone); David Sancious (piano, keyboards).

Rendezvous in Rio

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George Kahn - Freedom Vessel...

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 60:57
Size: 139,7 MB
Art: Front

(5:44)  1. Millenium Schmellenium
(5:03)  2. Blues for Sonny
(4:59)  3. Evan's seven
(7:53)  4. Freedom vessel
(8:46)  5. Bill & Gil's excellent adventure
(4:52)  6. The way you do the things you do
(5:35)  7. One moment of your life
(5:33)  8. Samba by starlight
(3:30)  9. Over the rainbow
(4:09) 10. Strollin' (wif ma bebe)
(4:48) 11. The garden

Melodic jazz piano trio, music from the heart, direct to the hands. No drum machines, no synthesizers, playing live, real, in the moment. Music to listen to over and over again.Creating a time and place that is new, yet familiar. George Kahn is a jazz pianist who has played in and around Los Angeles for the last 20 years. His current group, "Party of Four" features M.B. Gordy on drums, Karl Vincent on Bass and Eric Marienthal on saxes. They will play anywhere that people will pay them to show up! George's misson in life is to return jazz to the glory days before synthesizers and drum machines raomed the earth.

Review by Phrygia, from MP3.com: OK, we are sickened by the amount of fun these guys are having. What's the matter with desolate guilt ridden music? Well, to tell you the truth, it sucks, so here we bring you some brassy jazz that wipes the cool off the mirror and hazes it up with something incredibly hot. George Kahn is what the teeming listeners would consider a 'mature' composer and musician, in the sense that he incorporates what we here in the Land of Phrygia Musical Appreciation and Phenomenal Artists College feel to be the most intense, if not the most difficult, music to master in the world. Classical music has cadence, structure, and is imprisoned or freed by the conductor. But when it comes to pure agility and stamina, Acid Jazz outshines any other genre in the abilities of the artists. That's where the crucial element comes in? Is it credible? For George, we would have to say no, it's not that credible. It's friggin' Incredible!  https://store.cdbaby.com/cd/gkahn3

Personnel:  George Kahn - Piano, Eric Marienthal - Saxes, Bobby Rodriguez on trumpet, Joe Labarbera on drums and Dave Carpenter on bass.

Freedom Vessel...

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David Garfield - Jazz Outside The Box

Size: 207,4 MB
Time: 89:03
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Pop, Vocals
Art: Front

01. Fragile (Feat. Michael McDonald, Bruce Hamada & Diego Figueiredo) (5:37)
02. Harvest Time (Acoustic) (Feat. Eric Marienthal & Airto Moreira) (5:49)
03. In A Sentimental Mood (Feat. Poncho Sanchez & Larry Klimas) (5:49)
04. Roxanne (Feat. Robbie Wyckoff & Joe Porcaro) (4:22)
05. Song For My Father (Full-Length) (Feat. John Densmore, Denny Dias & Randy Brecker) (7:14)
06. Rainbow Seeker (Acoustic) (Feat. Chuck Loeb & Steve Jordan) (5:44)
07. Stolen Moments (Feat. Tom Scott & Joe Porcaro) (4:55)
08. Voodoo Gumbo - Citizen Coryell (Feat. Larry Coryell & Airto Moreira) (2:24)
09. East Lou Brew (Feat. Bennie Maupin, Wallace Roney & Larry Coryell) (5:46)
10. Sophisticated Lady (Feat. Poncho Sanchez, Leslie Smith & Pete Christlieb) (6:16)
11. Red Baron (Feat. Randy Brecker & Brian Auger) (4:08)
12. Country Preacher (Feat. Eric Marienthal & Mike Finnigan) (4:56)
13. Prophecy (Feat. Michael Landau & Vinnie Colaiuta) (4:32)
14. My Favorite Things (Feat. Robert Greenidge & Terry Trotter) (5:33)
15. Song For My Father (Radio Version) (Feat. John Densmore, Denny Dias & Randy Brecker) (4:41)
16. Red Baron (Alternate Version) (Feat. Oz Noy & James Harrah) (4:07)
17. Harvest Time (Extended Version) (Feat. Eric Marienthal & Airto Moreira) (6:52)

David Garfield, the guiding light for the jazz-fusion band Karizma, unveils Jazz: Outside the Box. on 2018. He’s not one to stand still as he’s an in-demand player, and has been musical director for George Benson, as well as a solo star in his own right.

Jazz: Outside the Box is a labor of love for the Los Angeles-based keyboardist. He has recorded more than four discs worth of music for the on-going Outside the Box project. Jazz: Outside the Box follows three singles released in 2017: A cover of Stevie Wonder’s “Go Home” featuring Kirk Whalum and Paul Jackson Jr.; “Jamming,” a Bob Marley cover with Mike Campbell; and the original tune “I Lied” he co-wrote with Smokey Robinson for vocalist J. Paris.

The Sting classic “Fragile” kicks things off in fine form. David Garfield’s piano centered arrangement is elegant. Touches of percussion by Kevin Ricard and acoustic bass by Carlos del Puerto move things along, while vocalist Michael McDonald provides an understated charm which is perfectly fitting. John Clayton arranged and conducted the string section on this, and it majestically intertwines with the song.

“In a Sentimental Mood” adds a Latin jazz flavor as percussionist and bandleader Poncho Sanchez adds congas, shakers and his unmistakable flare to bring the proceedings to a simmer. Garfield’s acoustic piano supports the tenor saxophone and trumpet, while the vibraphone toys with the melody. Garfield’s production and arranging allow each player to shine, while they support the song.

Joe Porcaro and Robbie Wyckoff get the same opportunity. Their interpretation of “Roxanne” defies expectations. The trumpet kicks of this song’s melodic core, before the band swings into the familiar tension of the song. Touches of Hammond B-3 support David Garfield’s piano. The band is in full swing mode before the backing vocals enter to support the musical bliss. Wyckoff’s lead vocal is perfect as it never attempts to replicate the original, and Porcaro’s drums (instead of his usual percussion additions) are always a welcome addition to any song. Carmen Grillo fills out the vocals to make this even more of a treat.

Bass, piano and guitar dance with each other in “Rainbow Seeker,” a Joe Sample composition. The late Chuck Loeb provides delicate leads as his electric guitar works magic with the melody. Steve Jordon reminds everyone why he’s so many artists’ first-call drummer. Garfield’s piano, Loeb’s guitar and Jordon’s drums conspire to lift the song to the stars.

Joe Porcaro returns on “Stolen Moments” but, this time, Tom Scott’s tenor is Porcaro’s and Garfield’s playmate. The song’s slow methodical groove is supported by a big band horn chart that flaunts jazz tradition while bringing in something new. Again, Garfield shows off his arranging chops as tenor sax, alto, baritone weave seamlessly with trombone and trumpet. Scott’s tenor solo smokes, as he moves the tempo forward.

The horns have a Steely Dan-meets-Chicago flare, with Chuck Findley and Nick Lane adding trumpet and trombone, respectively. Original Steely Dan guitarist Denny Dias makes a surprise and welcome appearance, going on a series of fluid runs. By the time David Garfield weaves in his acoustic solo, you can’t help but realize the song – and, indeed, all of Garfield’s Jazz: Outside the Box – is something special.

“Sophisticated Lady” features Sanchez again on congas, and an understated lead male vocal. Garfield ties in a full horn section but leaves solo space for the great Pete Christlieb. Christlieb does not disappoint as his bars of pure jazz delight hover above Sanchez’s conga and Garfield’s piano like angels above the clouds.

Karizma members Michael Landau and Vinnie Colaiuta make an appearance on “Prophecy.” The song has a fusion feel with an early drum solo by Colaiuta, nice chunky guitar fills by Landau and a mid-song solo. David Garfield sticks with his acoustic piano as the song builds, yet “Prophecy” seems almost out of place surrounded by the more contemporary jazz selections.

Jason Scheff, the long-time former bassist of Chicago, shows off his considerable jazz chops to “Song For My Father.” His bass is melodic, as its dances with Doors drummer John Densmore’s laid back rim work. Scheff also takes a turn at the mic, lending his unmistakable tenor to the mix. Denny Dias is also along for the ride. Dias, who appears on Garfield’s Porcaro-related Tribute to Jeff album is as tasteful as ever, adding even a touch of “Rikki Don’t Lose That Number” to the melody – even if he didn’t play on that Steely Dan song. The song’s samba beat adds another dimension to Jazz: Outside the Box, which at 17 songs covers a lot of ground.

Jazz: Outside the Box is a fascinating and often exhilarating look at David Garfield’s vision of straight-ahead jazz. Yet it’s only a tease as Garfield plans three more Outside the Box releases covering contemporary jazz, voice and fusion. If Jazz: Outside the Box is any indication, we are in for a treat. ~by Preston Frazier

Jazz Outside The Box

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