Showing posts with label billy cobham. Show all posts
Showing posts with label billy cobham. Show all posts

12 November, 2011

The Crossing- Eumir Deodato (2011)



The Crossing, Deodato's last work has been recorded with the collaboration of great artists: Al Jarreau, Billy Cobham, John Tropea, the Italian Novecento, Londonbeat, Airto Moreira and Paco Sery.
The album tracks are combination of funk and smooth Latin bossa. In my opinion, even that Deodato has surrounded itself by Jazz Fusion geniuses like Cobham, Airto or Tropea; the result has been a compilation of maybe too Smooth tunes, but also very lively and some of great quality.
"Double face" is the star track, the one released first as a single. The melody is opened with Jarreau’s usual vocal jams. The chorus (“Double feature/Double creature/That will teach ya… Double do ya/ Double fool ya/Hallelujah”) has been strongly criticized for its simplicity; although it has to be said that it's pretty catchy. Eumir, for its part, dazzles us with his two piano solos, both very rhythmic. It reminds me to that kind of 80’s disco tunes; a song obviously composed to be danced.
Much better is the collaboration with Jarreau and Novecento: “I want you more”. Here, Dora Nicolosi sings with a seductive and warm voice. A perfect melody for driving at night under the street lights...
Another good piece to pay attention in this album is “Summertime” (versioned from the one composed by George Gershwin for the opera Porgy and Bess), where Tropea finally really shows off his guitar skills in a pure Santana style.

Note: Pay attention to the blog tomorrow because I’ll upload this week playlist! Sorry for this six-day gap without posting anything, it has been a busy week. 
Funk da world!

02 November, 2011

The Complete Bitches Brew Sessions- Miles Davis




"I made six studio dates with this group in four years," he says. "And there were some live recordings that I guess Columbia will release when they think they can make the most money; probably after I'm dead." - Miles Davis.

The Complete Bitches Brew Sessions collects all tracks Davis recorded between August 19, 1969 and February 6, 1970. They are many pieces that have anything to do with the original double album Bitches Brew of 1970 because they were not part of the same sessions of the album recording. Bob Belden, the re-issue producer, said that according to him these songs had similar line-ups to Bitches Brew ones and the same emphasis on keyboards. But it is obvious that it is just another release of the original album plus more songs with the unique aim of selling it once again.

Even after the release of this four-disc box set, Columbia records re-released other two editions of Bitches Brew (both with live sessions and one with a DVD live at Copenhagen). Why all this importance is given to the album?

The reason is that it is one of the jazz history greatest albums. This is because it marked a before and an after in jazz music; a turning point in modern jazz. The compilation not only is the progenitor of the jazz-rock genre, but it was the launch pad for the jazz fusion (which would come nine months later with In a Silent Way). 

Perhaps the biggest innovation is in the rhythm. Miles makes the design of the rhythm section as if it were a rock group; he gives them a central role in the joint activities, offering them time enough for their solos. 

At the same time that he developed his trumpet echo, Davis started working with electric keyboards and electric guitar and added new percussion ingredients. All of these changes where also influence by the artists which he started to listen to and become fan of, that were Jimi Hendrix, James Brown, and Sly Stone.

Lastly but not least, another spirit added to the cocktail of innovation that is Bitches Brew was the idea of stitching together pieces into a new whole. A radical practice that had never been made before in a genre that was characterized by the art of improvising. This is the case of the tracks "Pharaoh’s Dance" and "Bitches Brew" that were not single lengthy jams or compositions, but fragments of them that Teo Macero (producer) and Miles assembled and edited together.


Personnel:

Miles Davis - Trumpet, Vocals
Don Alias - Percussion, Conga, Drums
Khalil Balakrishna - Sitar
Harvey Brooks - Bass, Electric bass
Ron Carter - Bass
Billy Cobham - Drums, Triangle
Chick Corea - Electric piano
Jack DeJohnette - Drums
Steve Grossman - Soprano saxophone
Herbie Hancock - Electric piano
Dave Holland - Bass, Electric bass
Bennie Maupin - Bass clarinet
John McLaughlin - Guitar
Airto Moreira - Berimbau, Cuíca, Percussion
Bihari Sharma - Tabla, Tamboura
Wayne Shorter - Soprano saxophone
Juma Santos (Jim Riley) - Conga, Shaker
Lenny White - Drums
Larry Young - Organ, Celeste, Electric piano
Joe Zawinul - Electric piano