Top Ten Jazz Music Sales |
Top Ten Jazz
Call Me Irresponsible by Michael Bublé
It's no coincidence that Michael Bublé's new album starts with just his voice and some fingersnaps on "The Best Is Yet to Come," a song made famous by Frank Sinatra. The Canadian smoothie looks longingly towards early-'60s Vegas, an impression quickly reinforced when a boisterous horn section makes its grand entrance, about 20 seconds into the track. That Bublé means business is confirmed by the second cut, a fast-paced take on Henry Mancini's "It Had Better Be Tonight," and of course by the CD's very title, another song identified with Sinatra as his cockiest. There are just a few sidesteps from the retro formula that's served Bublé so well so far: a languid duet with Brazilian star Ivan Lins on the bossa "Wonderful Tonight," a gospel choir on "That's Life." Interestingly, Bublé co-wrote the best of those sidesteps, "Everything," a Norah Jones-esque number that alluringly harks back to sunny '70s pop. It's also the only song on the album produced by Bob Rock (best known for his work with Metallica), sending out a strong signal that Bublé should reach out to unlikely collaborators more often. --Elisabeth Vincentelli More Music from Michael Bublé
It's no coincidence that Michael Bublé's new album starts with just his voice and some fingersnaps on "The Best Is Yet to Come," a song made famous by Frank Sinatra. The Canadian smoothie looks longingly towards early-'60s Vegas, an impression quickly reinforced when a boisterous horn section makes its grand entrance, about 20 seconds into the track. That Bublé means business is confirmed by the second cut, a fast-paced take on Henry Mancini's "It Had Better Be Tonight," and of course by the CD's very title, another song identified with Sinatra as his cockiest. There are just a few sidesteps from the retro formula that's served Bublé so well so far: a languid duet with Brazilian star Ivan Lins on the bossa "Wonderful Tonight," a gospel choir on "That's Life." Interestingly, Bublé co-wrote the best of those sidesteps, "Everything," a Norah Jones-esque number that alluringly harks back to sunny '70s pop. It's also the only song on the album produced by Bob Rock (best known for his work with Metallica), sending out a strong signal that Bublé should reach out to unlikely collaborators more often. --Elisabeth Vincentelli More Music from Michael Bublé
Release Date: 01 May, 2007 Audio CD More Info... List Price: $18.98 Our Price: $9.97 
Italia by Chris Botti
Release Date: 25 September, 2007 Audio CD More Info... List Price: $14.98 Our Price: $9.99 
It's Time by Michael Bublé
Michael Bublé's assured debut and the tireless year of globe-trotting touring he spent promoting it elevated the 20-something Vancouver native into the first rank of pop crooner revivalists. His sophomore studio follow-up largely turns on the same formula that helped make his considerable vocal prowess so attractive to mainstream audiences, mixing the nigh flawless, if expected Sinatra-channeling ("I've Got You Under My Skin") with more playful and inviting renditions of pop standards like the Gershwin's "A Foggy Day in London Town," "Feeling Good," "Try A Little Tenderness" and Cole Porter's "I've Got You Under My Skin." But it's the eclectic mix of more contemporary material the singer seasons them with -- apt tribute to Bublé hero Bobby Darin -- that keeps him walking the narrow tightrope between artistic intrigue (a blues-tinged vamp of Holland-Dozier-Holland's "How Sweet It Is," Leon Russell's lovely "Song For You," with a guest turn by Chris Botti) and the kitsch-laden abyss ("Quando, Quando, Quando"'s Euro-centric duet with Nelly Furtado, a ring-a-ding-fling with the Beatles' "Can't Buy Me Love" that echoes fellow Canadian crooner/rival Matt Dusk's more successful flirtation with Lennon-McCartney). Arranger/producer Tommy LiPuma offers Bublé a welcome swinging jazz showcase on "The More I See of You," a bracing respite from the rest of producer David Foster's slick, if typically bloodless MOR production. -- Jerry McCulley [Note: A special edition including two bonus tracks--"Dream a Little Dream" and "Mack the Knife"--is also available.]
Michael Bublé and More
Michael Bublé and More
River: The Joni Letters (with Bonus Tracks) - Amazon.com Exclusive by Herbie Hancock
On paper, River sounds like a match made in several versions of heaven. Legendary pianist Herbie Hancock re-imagines Joni Mitchell with his hand-picked, star-studded band--including saxophonist Wayne Shorter--in tow. Luminary guests lend vocals to a song apiece: Norah Jones ("Court and Spark"), Tina Turner ("Edith and the Kingpin"), Corinne Bailey Rae ("River"), Luciana Souza ("Amelia"), Leonard Cohen (with an unsettlingly sanguine version of "The Jungle Line"), even Mitchell herself ("Tea Leaf Prophecy"). In the event, though, a few fundamental elements go awry. Hancock plays with almost saccharine understatement throughout, and even Shorter's seminal "Nefertiti" and Duke Ellington's "Solitude" fall into the album's presiding, somnolent surface, though to a lesser degree does the instrumental version of Mitchell's "Sweet Bird." But girding, and in some measure, saving, the proceedings, the lyrics here testify to a subtler wisdom guiding Hancock's set list. The mix includes a continuum from intrepid classics to dusty, fans-only fare, but a distinct reverence for Joni Mitchell the Poet threads them together, and, in the end, this album works best as a sleepy window into one fan's giddy and particular love affair with his source material. Fans of Hancock win out. --Jason Kirk On paper, River sounds like a match made in several versions of heaven. Legendary pianist Herbie Hancock re-imagines Joni Mitchell with his hand-picked, star-studded band--including saxophonist Wayne Shorter--in tow. Luminary guests lend vocals to a song apiece: Norah Jones ("Court and Spark"), Tina Turner ("Edith and the Kingpin"), Corinne Bailey Rae ("River"), Luciana Souza ("Amelia"), Leonard Cohen (with an unsettlingly sanguine version of "The Jungle Line"), even Mitchell herself ("Tea Leaf Prophecy"). In the event, though, a few fundamental elements go awry. Hancock plays with almost saccharine understatement throughout, and even Shorter's seminal "Nefertiti" and Duke Ellington's "Solitude" fall into the album's presiding, somnolent surface, though to a lesser degree does the instrumental version of Mitchell's "Sweet Bird." But girding, and in some measure, saving, the proceedings, the lyrics here testify to a subtler wisdom guiding Hancock's set list. The mix includes a continuum from intrepid classics to dusty, fans-only fare, but a distinct reverence for Joni Mitchell the Poet threads them together, and, in the end, this album works best as a sleepy window into one fan's giddy and particular love affair with his source material. Fans of Hancock win out. --Jason Kirk Release Date: 25 September, 2007 Audio CD More Info... List Price: $18.98 Our Price: $12.99 
Trav'lin' Light by Queen Latifah
With Trav'lin' Light, singer/actress/rapper/Cover Girl Queen Latifah (née Dana Owens) continues her chameleonic pan-stardom. The latest musical chapter in Latifah's success-studded career began with 2004's The Dana Owens Album, on which she emerged as a nuanced crooner of jazz and R&B standards. She continues this mode on her Verve records debut, adding ample individuality to such well-loved classics as Johnny Mercer's title track, Nina Simone's "I Want a Little Sugar in My Bowl," and Antonio Carlos Jobim's "Quiet Nights of Quiet Stars" (with legendary harmonica pioneer Toots Thielemans). Steve Wonder's own harmonica playing lends nostalgic ornament to an otherwise rather forced "Georgia Rose," and much of the album languishes in similarly downbeat fare, though Latifah's voice is never wholly unbecoming of her song choices. Toward the album's end comes a welcome swerve for the energetic. Inspiring takes on the Pointer Sisters' "How Long" and Curtis Mayfield's "Gone Away" lead into the soaring choruses of "I Know Where I've Been." Taken together, these three songs superbly straddle the spectrum from the former rapper to the still-newly minted singer with a long lease on success and a peerless sense of how to grow older gracefully. --Jason Kirk With Trav'lin' Light, singer/actress/rapper/Cover Girl Queen Latifah (née Dana Owens) continues her chameleonic pan-stardom. The latest musical chapter in Latifah's success-studded career began with 2004's The Dana Owens Album, on which she emerged as a nuanced crooner of jazz and R&B standards. She continues this mode on her Verve records debut, adding ample individuality to such well-loved classics as Johnny Mercer's title track, Nina Simone's "I Want a Little Sugar in My Bowl," and Antonio Carlos Jobim's "Quiet Nights of Quiet Stars" (with legendary harmonica pioneer Toots Thielemans). Steve Wonder's own harmonica playing lends nostalgic ornament to an otherwise rather forced "Georgia Rose," and much of the album languishes in similarly downbeat fare, though Latifah's voice is never wholly unbecoming of her song choices. Toward the album's end comes a welcome swerve for the energetic. Inspiring takes on the Pointer Sisters' "How Long" and Curtis Mayfield's "Gone Away" lead into the soaring choruses of "I Know Where I've Been." Taken together, these three songs superbly straddle the spectrum from the former rapper to the still-newly minted singer with a long lease on success and a peerless sense of how to grow older gracefully. --Jason Kirk Release Date: 25 September, 2007 Audio CD More Info... List Price: $13.98 Our Price: $9.97 
Duets: An American Classic by Tony Bennett
At this point, who else but Tony Bennett would have the clout to round up stars on the scale of Elton John, Paul McCartney, Bono, Celine Dion and Barbra Streisand for some duets? (Note also that unlike some similar projects, all the parties involved on this CD were alive when it was recorded!) The material consists of relatively obvious classics in standard big-band arrangements, and Bennett himself is in top form at age 80, so much so that he doesn't need anybody else to handle "I Left My Heart in San Francisco." But the fun comes from checking out how his collaborators fare. The Dixie Chicks provide wonderful Andrews Sisters–type harmonies on the percolating version of "Lullaby of Broadway" that opens the festivities. The best songs tend to be the ones where Bennett's slightly craggy voice is juxtaposed to smooth female ones, like Diana Krall on "The Best Is Yet to Come," familiar accomplice k.d. lang on the sultry "Because of You" and Streisand—-perhaps Bennett's only equal in stature at this point—on "Smile." Among the less expected guests, soulman John Legend is a revelation on the hard-swinging "Sing, You Sinners," while George Michael confirms he’s quite the crooner on "How Do You Keep the Music Playing?" Elvis Costello, Celine Dion or Juanes don't sound as comfortable, and sometimes it feels as if they overdo it to compensate, but overall this collection is among the best of its kind, with most guests rising to the occasion. --Elisabeth Vincentelli At this point, who else but Tony Bennett would have the clout to round up stars on the scale of Elton John, Paul McCartney, Bono, Celine Dion and Barbra Streisand for some duets? (Note also that unlike some similar projects, all the parties involved on this CD were alive when it was recorded!) The material consists of relatively obvious classics in standard big-band arrangements, and Bennett himself is in top form at age 80, so much so that he doesn't need anybody else to handle "I Left My Heart in San Francisco." But the fun comes from checking out how his collaborators fare. The Dixie Chicks provide wonderful Andrews Sisters–type harmonies on the percolating version of "Lullaby of Broadway" that opens the festivities. The best songs tend to be the ones where Bennett's slightly craggy voice is juxtaposed to smooth female ones, like Diana Krall on "The Best Is Yet to Come," familiar accomplice k.d. lang on the sultry "Because of You" and Streisand—-perhaps Bennett's only equal in stature at this point—on "Smile." Among the less expected guests, soulman John Legend is a revelation on the hard-swinging "Sing, You Sinners," while George Michael confirms he’s quite the crooner on "How Do You Keep the Music Playing?" Elvis Costello, Celine Dion or Juanes don't sound as comfortable, and sometimes it feels as if they overdo it to compensate, but overall this collection is among the best of its kind, with most guests rising to the occasion. --Elisabeth Vincentelli Release Date: 26 September, 2006 Audio CD More Info... List Price: $18.97 Our Price: $13.99 
Michael Bublé by Michael Bublé
Pop's rush to raid the cradle continues with this promising debut by 25-year-old Canadian singer Michael Bublé. And while the young vocal star's good looks are smart enough for a boy band, his muse seems to have sprung from a more sassy and compelling musical era. Mentored by Paul Anka (whose '50s hit "Put Your Head on My Shoulder" is covered in dreamy, cabaret fashion here), Bublé sings in the orbits of Darin and Sinatra, covering swing epoch gems ("Come Fly with Me," "The Way You Look Tonight," "That's All") and rock era standards (Van Morrison's "Moondance," "How Can You Mend a Broken Heart" by the Brothers Gibb, Queen's "Crazy Little Ting Called Love") with equal aplomb. David Foster's production is typically slick and played to the back row of the bleachers, but it's informed by smart contexts provided by such arrangers as Johnny Mandel, Randy Waldman, and Mike Melvoin. If the choices of material are sometimes staid and predictable, they also give the singer a crucial framework for building toward something more challenging; his is a bright future. --Jerry McCulley Pop's rush to raid the cradle continues with this promising debut by 25-year-old Canadian singer Michael Bublé. And while the young vocal star's good looks are smart enough for a boy band, his muse seems to have sprung from a more sassy and compelling musical era. Mentored by Paul Anka (whose '50s hit "Put Your Head on My Shoulder" is covered in dreamy, cabaret fashion here), Bublé sings in the orbits of Darin and Sinatra, covering swing epoch gems ("Come Fly with Me," "The Way You Look Tonight," "That's All") and rock era standards (Van Morrison's "Moondance," "How Can You Mend a Broken Heart" by the Brothers Gibb, Queen's "Crazy Little Ting Called Love") with equal aplomb. David Foster's production is typically slick and played to the back row of the bleachers, but it's informed by smart contexts provided by such arrangers as Johnny Mandel, Randy Waldman, and Mike Melvoin. If the choices of material are sometimes staid and predictable, they also give the singer a crucial framework for building toward something more challenging; his is a bright future. --Jerry McCulley Release Date: 11 February, 2003 Audio CD More Info... List Price: $18.98 Our Price: $12.97 
Ain't Necessarily So by Andy Bey
Release Date: 30 October, 2007 Audio CD More Info... List Price: $14.98 Our Price: $12.99 
The Very Best of Diana Krall by Diana Krall
Release Date: 18 September, 2007 Audio CD More Info... List Price: $13.98 Our Price: $10.99 
Kind of Blue by Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans
This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed Release Date: 25 March, 1997 Audio CD More Info... List Price: $11.98 Our Price: $7.97 |
Jazz Fusion
Ken Burns's Jazz: The Story of American Music by Various Artists
This five-CD box set soundtrack to filmmaker Ken Burns's 10-part, 19-hour documentary Jazz spans nearly a century of jazz styles, from the martial rhythms of James Reese Europe to the soul-jazz of Grover Washington Jr. It includes time-tested classics like Benny Goodman's 1938 classic, "Sing, Sing, Sing"; John Coltrane's chanting 1965 immortal track, "A Love Supreme"; Billie Holiday's blue-ember ballad, "God Bless the Child"; and Ella Fitzgerald peeling off "A-Tisket A-Tasket." Bebop is represented by Charlie Parker's orchestral bop version of "Just Friends"; Thelonious Monk's nocturnal calling card, "'Round Midnight"; and Dizzy Gillespie's "Salt Peanuts" and "Groovin' High." The jazz-instrumentalist-as-singer comes to life on Coleman Hawkins's "Body and Soul" and Horace Silver and the Jazz Messengers' "Doodlin'." Clifford Brown and Max Roach's "I Get a Kick out of You" epitomizes the hard-bop era, while Miles Davis's "So What" stands as the modal masterpiece. The cool school is in session with Chet Baker and Gerry Mulligan dishing out "Walkin' Shoes," and the Modern Jazz Quartet's soulful elegy "Django" straddles all the above musical orbits. As for Django Reinhardt, he's featured on "Shine" with the justly famed Le Quartet du Hot Club de France. Louis Armstrong's "West End Blues" and "Potato Head Blues" and Duke Ellington's rousing rendition of Billy Strayhorn's anthem, "Take the A Train," and his moody "Solitude" show why they are the Olympian masters of this art form--and the most frequently featured artists in the series. Although Ken Burns tries bringing the music up-to-date with Wynton Marsalis, Cassandra Wilson, and two jazz-hip-hop-influenced tracks--Herbie Hancock's robotic "Rockit" and the French-language "Un Aige en Danger" by MC Solaar and bass legend Ron Carter--there are significant holes here. After Cecil Taylor and Ornette Coleman, the avant-garde period from the late 1960s to the 1980s is lacking. And aside from the bossa nova hit "Desafinado," Latin jazz is also missing. It's a tough task summarizing jazz in five CDs, and Burns has given us a vibrant and vivid multicolored aural portrait of the music. --Eugene Holley Jr.
The jazz-instrumentalist-as-singer comes to life on Coleman Hawkins's "Body and Soul" and Horace Silver and the Jazz Messengers' "Doodlin'." Clifford Brown and Max Roach's "I Get a Kick out of You" epitomizes the hard-bop era, while Miles Davis's "So What" stands as the modal masterpiece. The cool school is in session with Chet Baker and Gerry Mulligan dishing out "Walkin' Shoes," and the Modern Jazz Quartet's soulful elegy "Django" straddles all the above musical orbits. As for Django Reinhardt, he's featured on "Shine" with the justly famed Le Quartet du Hot Club de France. Louis Armstrong's "West End Blues" and "Potato Head Blues" and Duke Ellington's rousing rendition of Billy Strayhorn's anthem, "Take the A Train," and his moody "Solitude" show why they are the Olympian masters of this art form--and the most frequently featured artists in the series. Although Ken Burns tries bringing the music up-to-date with Wynton Marsalis, Cassandra Wilson, and two jazz-hip-hop-influenced tracks--Herbie Hancock's robotic "Rockit" and the French-language "Un Aige en Danger" by MC Solaar and bass legend Ron Carter--there are significant holes here. After Cecil Taylor and Ornette Coleman, the avant-garde period from the late 1960s to the 1980s is lacking. And aside from the bossa nova hit "Desafinado," Latin jazz is also missing. It's a tough task summarizing jazz in five CDs, and Burns has given us a vibrant and vivid multicolored aural portrait of the music. --Eugene Holley Jr.
Mahavishnu Orchestra: Live at Montreux 1974-1984 by Various Artists
Release Date: 02 October, 2007 DVD More Info... List Price: $19.98 Our Price: $14.99
Canyon Trilogy: Native American Flute Music by R. Carlos Nakai
Nakai's free improvisations on this album are based on his impressions of the Anasazi and Sinagua sites, ancient cliff dwellings that were home to communities of Native people thousands of years ago. By using the Roland SDE 3000 Digital Delay system, Nakai is able to play duets with his own echo, in an effort to emulate the echoes of the past that haunt these ruins. On this recording, Nakai's flute sounds even more plaintive than usual, as if the spirits of these forgotten ancestors had entered into the studio to fill his playing with the whispered reverberations of their ancient ways. This is one of Nakai's most deeply felt recordings, one that resonates with a deep, melancholy yearning. --j. poet Nakai's free improvisations on this album are based on his impressions of the Anasazi and Sinagua sites, ancient cliff dwellings that were home to communities of Native people thousands of years ago. By using the Roland SDE 3000 Digital Delay system, Nakai is able to play duets with his own echo, in an effort to emulate the echoes of the past that haunt these ruins. On this recording, Nakai's flute sounds even more plaintive than usual, as if the spirits of these forgotten ancestors had entered into the studio to fill his playing with the whispered reverberations of their ancient ways. This is one of Nakai's most deeply felt recordings, one that resonates with a deep, melancholy yearning. --j. poet Release Date: 04 March, 1993 Audio CD More Info... List Price: $15.98 Our Price: $13.99
The Complete On the Corner Sessions by Miles Davis
Release Date: 25 September, 2007 Audio CD More Info... List Price: $139.98 Our Price: $114.99
Bitches Brew by Miles Davis
The revolution was recorded: in 1969 Bitches Brew sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signaled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. And with this two-CD reissue (actually, this set is a reissue of the original set plus one track, perfect for the fan who's not so overwhelmed as to need the four-CD Complete Bitches Brew box), the murk of the original recording is lifted. The instruments newly defined and brightened, the dark energy of the original comes through as if it were all fresh. Joe Zawinul and Bennie Maupin's roles in the mix have been especially clarified. With a bonus track of "Feio"--a Wayne Shorter composition recorded five months later that serves both as a warm-down for Bitches Brew and a promise of Weather Report to come--this is crucial listening. --John F. Szwed The revolution was recorded: in 1969 Bitches Brew sent a shiver through a country already quaking. It was a recording whose very sound, production methods, album-cover art, and two-LP length all signaled that jazz could never be the same. Over three days anger, confusion, and exhilaration had reigned in the studio, and the sonic themes, scraps, grooves, and sheer will and emotion that resulted were percolated and edited into an astonishingly organic work. This Miles Davis wasn't merely presenting a simple hybrid like jazz-rock, but a new way of thinking about improvisation and the studio. And with this two-CD reissue (actually, this set is a reissue of the original set plus one track, perfect for the fan who's not so overwhelmed as to need the four-CD Complete Bitches Brew box), the murk of the original recording is lifted. The instruments newly defined and brightened, the dark energy of the original comes through as if it were all fresh. Joe Zawinul and Bennie Maupin's roles in the mix have been especially clarified. With a bonus track of "Feio"--a Wayne Shorter composition recorded five months later that serves both as a warm-down for Bitches Brew and a promise of Weather Report to come--this is crucial listening. --John F. Szwed Release Date: 08 June, 1999 Audio CD More Info... List Price: $24.98 Our Price: $15.97
Live at Montreux Jazz Festival 1976 by Miles Davis
The chance to witness world class musicians and a great band at a vital point in its evolution is the appeal of Weather Report: Live at Montreux Jazz Festival 1976. Joe Zawinul (keyboards) and Wayne Shorter (saxophones), co-founders of the enterprise that many would call the greatest jazz-fusion group ever, had recently been joined by a player of almost equal stature: Jaco Pastorius, who at age 24 was busy re-defining the fretless electric bass for generations to come. Pastorius had played on some of Black Market, the most recent Weather Report recording, but he'd only been touring with them for three months when they appeared at the Montreux event; though not yet fully integrated, his playing here frequently backs up his self-description as "the greatest bass player in the world," not only on Black Market material like Shorter's "Elegant People" and Zawinul's "Cannon Ball" and title song (two of his most melodic and enduring tunes) but on earlier items like "Badia" and "Scarlet Woman" as well. With Manolo Badrena on percussion and the explosive Alex Acuna on drums, this was the quintet that would go on to release the landmark Heavy Weather album a year later (you can hear Zawinul noodling on the melody that would become "Birdland," their breakout hit, during "Dr. Honoris Causa"). This gig, which clocks in at slightly under 90 minutes, is smoking from start to finish. The band expands on (and, in the case of "Black Market," slightly speeds up) the recorded versions; as always, the balance of composition and improvisation is brilliant, underlining Zawinul's description of Weather Report as a band that "never solos, but always solos." Although one might wish for a better audio mix (the drums and percussion are too loud, and the overall sound is on the shrill side), this is a welcome addition to the catalogue of a wonderful and important band that's woefully underrepresented on DVD. (Note: Fans will also want to check out the DVD of a '78 performance that's included in Forecast: Tomorrow, Weather Report's 2006 boxed CD set.) --Sam Graham The chance to witness world class musicians and a great band at a vital point in its evolution is the appeal of Weather Report: Live at Montreux Jazz Festival 1976. Joe Zawinul (keyboards) and Wayne Shorter (saxophones), co-founders of the enterprise that many would call the greatest jazz-fusion group ever, had recently been joined by a player of almost equal stature: Jaco Pastorius, who at age 24 was busy re-defining the fretless electric bass for generations to come. Pastorius had played on some of Black Market, the most recent Weather Report recording, but he'd only been touring with them for three months when they appeared at the Montreux event; though not yet fully integrated, his playing here frequently backs up his self-description as "the greatest bass player in the world," not only on Black Market material like Shorter's "Elegant People" and Zawinul's "Cannon Ball" and title song (two of his most melodic and enduring tunes) but on earlier items like "Badia" and "Scarlet Woman" as well. With Manolo Badrena on percussion and the explosive Alex Acuna on drums, this was the quintet that would go on to release the landmark Heavy Weather album a year later (you can hear Zawinul noodling on the melody that would become "Birdland," their breakout hit, during "Dr. Honoris Causa"). This gig, which clocks in at slightly under 90 minutes, is smoking from start to finish. The band expands on (and, in the case of "Black Market," slightly speeds up) the recorded versions; as always, the balance of composition and improvisation is brilliant, underlining Zawinul's description of Weather Report as a band that "never solos, but always solos." Although one might wish for a better audio mix (the drums and percussion are too loud, and the overall sound is on the shrill side), this is a welcome addition to the catalogue of a wonderful and important band that's woefully underrepresented on DVD. (Note: Fans will also want to check out the DVD of a '78 performance that's included in Forecast: Tomorrow, Weather Report's 2006 boxed CD set.) --Sam Graham Release Date: 17 April, 2007 DVD More Info... List Price: $14.98 Our Price: $10.99
John Barleycorn Must Die by Traffic
Traffic's third studio album is also its third best, ranking below the band's superb second record (1968's Traffic) and its psychedelic debut (1968's Mr. Fantasy). The depth of those albums came from having two superior songwriters, Steve Winwood and Dave Mason; by John Barleycorn, Winwood was leading a trio that included Chris Wood on horns and Jim Capaldi on drums. Winwood now supplied guitar as well as keyboards, and songs such as "Glad" and "Freedom Rider" reflected the trio's fondness for instrumental jams. But the 1970 album is remembered most for the title tune, a traditional folk song blessed with one of the finest vocals of Winwood's long career. --John Milward Traffic's third studio album is also its third best, ranking below the band's superb second record (1968's Traffic) and its psychedelic debut (1968's Mr. Fantasy). The depth of those albums came from having two superior songwriters, Steve Winwood and Dave Mason; by John Barleycorn, Winwood was leading a trio that included Chris Wood on horns and Jim Capaldi on drums. Winwood now supplied guitar as well as keyboards, and songs such as "Glad" and "Freedom Rider" reflected the trio's fondness for instrumental jams. But the 1970 album is remembered most for the title tune, a traditional folk song blessed with one of the finest vocals of Winwood's long career. --John Milward Release Date: 27 February, 2001 Audio CD More Info... List Price: $11.98 Our Price: $7.97
Handel's Messiah: A Soulful Celebration by Dianne Reeves, Patti Austin, Stevie Wonder, George Duke, Take 6, Al Jarreau
Release Date: 29 September, 1992 Audio CD More Info... List Price: $9.98 Our Price: $9.98
The Toys of Men by Stanley Clarke
It has been somewhat of a frustrating run for fans of uber-bassist Stanley Clarke's legendary, genre-defining '70s work. After establishing himself as the world's premier four-string jazz-rock maestro with his work in Return to Forever and solo albums such as School Days, Clarke altered his focus by churning out middling commercial funk pop and soundtracks. They diluted his status as a talented musician whose fleet-fingered style and elaborate picking technique influenced a generation of bass players. But he's back now, with an anti-war-propelled set that is an encouraging and convincing return to form. The opening 11-minute, six-part suite, featuring fiery fiddle from the intriguingly named Mads Tolling, sounds like prime-era Mahavishnu Orchestra, and also highlights Clarke's frantic yet precise staccato technique on his instrument. It alone is worth the price of this disc, but the remaining dozen tracks emphasize Clarke's intentions to prove he's never lost his touch. He shifts between acoustic and electric settings, inserting stark solo and duo interludes that spotlight his prodigious talent between longer work-outs with his tight group. "Bad Asses," where he is accompanied only by drums, sizzles with thumb-numbing, lightning-hot funk and "Chateauvallon 1972 (Dedicated to Tony Williams)" finds Clarke in fusion territory again working a sizzling, dramatic slow riff as powerful and vital as anything he has done in decades. Long-time admirers now have an album that indisputably proves Stanley Clarke hasn't lost a step as the foremost bass player of his generation. --Hal Horowitz It has been somewhat of a frustrating run for fans of uber-bassist Stanley Clarke's legendary, genre-defining '70s work. After establishing himself as the world's premier four-string jazz-rock maestro with his work in Return to Forever and solo albums such as School Days, Clarke altered his focus by churning out middling commercial funk pop and soundtracks. They diluted his status as a talented musician whose fleet-fingered style and elaborate picking technique influenced a generation of bass players. But he's back now, with an anti-war-propelled set that is an encouraging and convincing return to form. The opening 11-minute, six-part suite, featuring fiery fiddle from the intriguingly named Mads Tolling, sounds like prime-era Mahavishnu Orchestra, and also highlights Clarke's frantic yet precise staccato technique on his instrument. It alone is worth the price of this disc, but the remaining dozen tracks emphasize Clarke's intentions to prove he's never lost his touch. He shifts between acoustic and electric settings, inserting stark solo and duo interludes that spotlight his prodigious talent between longer work-outs with his tight group. "Bad Asses," where he is accompanied only by drums, sizzles with thumb-numbing, lightning-hot funk and "Chateauvallon 1972 (Dedicated to Tony Williams)" finds Clarke in fusion territory again working a sizzling, dramatic slow riff as powerful and vital as anything he has done in decades. Long-time admirers now have an album that indisputably proves Stanley Clarke hasn't lost a step as the foremost bass player of his generation. --Hal Horowitz Release Date: 16 October, 2007 Audio CD More Info... List Price: $18.98 Our Price: $12.97
The Visit by Loreena McKennitt
Release Date: 14 November, 2006 Audio CD More Info... List Price: $18.98 Our Price: $13.99 |
Smooth Jazz
Italia by Chris Botti
Release Date: 25 September, 2007 Audio CD More Info... List Price: $14.98 Our Price: $9.99
When I Fall In Love by Chris Botti
This is not the typical example of an artist from another genre jumping on the crowded standards-and-ballads bandwagon. When I Fall in Love instead represents an instrumental stylist busting out of a box to find a much more suitable platform for his craft. These tracks are the fruits of an obvious labor of love for everyone from the featured musicians to the arrangers to the engineers. The arrangers, particularly Billy Childs and Gil Goldstein, give Botti's trumpet a broad-brushed orchestral backdrop that allows him to emerge from the swirling strings and bouncy horns with bold strokes of creative improvising. Some tracks are obvious nods to Gil Evans and the lush arrangements of 1970s CTI recordings. Even the guest vocalists, Sting and Paula Cole, let his trumpet sing first before their respective cues on "La Belle Dame Sans Regrets" and "What'll I Do." The only blemish here is the obvious attempt at smooth jazz airplay with Sade's "No Ordinary Love." --Mark Ruffin This is not the typical example of an artist from another genre jumping on the crowded standards-and-ballads bandwagon. When I Fall in Love instead represents an instrumental stylist busting out of a box to find a much more suitable platform for his craft. These tracks are the fruits of an obvious labor of love for everyone from the featured musicians to the arrangers to the engineers. The arrangers, particularly Billy Childs and Gil Goldstein, give Botti's trumpet a broad-brushed orchestral backdrop that allows him to emerge from the swirling strings and bouncy horns with bold strokes of creative improvising. Some tracks are obvious nods to Gil Evans and the lush arrangements of 1970s CTI recordings. Even the guest vocalists, Sting and Paula Cole, let his trumpet sing first before their respective cues on "La Belle Dame Sans Regrets" and "What'll I Do." The only blemish here is the obvious attempt at smooth jazz airplay with Sade's "No Ordinary Love." --Mark Ruffin Release Date: 28 September, 2004 Audio CD More Info... List Price: $13.98 Our Price: $8.97
![Legends of Jazz: Showcase [Blu-ray] by Chris Botti](http://ecx.images-amazon.com/images/I/31ZECSB6E8L.jpg)
Legends of Jazz: Showcase [Blu-ray] by Chris Botti
Release Date: 24 October, 2006 Blu-ray More Info... List Price: $34.98 Our Price: $23.95
After Tonight by Will Downing
Release Date: 30 October, 2007 Audio CD More Info... List Price: $18.98 Our Price: $14.99
December by Chris Botti
Release Date: 10 October, 2006 Audio CD More Info... List Price: $13.98 Our Price: $12.99
Chris Botti - Live - With Orchestra & Special Guests by Chris Botti
Jazz trumpeter Chris Botti is mostly exquisite on this concert DVD, which gives old fans and new arrivals a chance to hear him apply his rich, expressive playing to a number of old standards, as well as one or two of his own compositions. Botti, along with a remarkable band including Billy Childs on piano and Billy Kilson on drums, plays six numbers as instrumentals but is joined on eight other performances by a few guests. Sans vocals, Botti warms up a delighted audience with a nice, if slightly exercised, take on "Someone to Watch Over Me," but proves magnificent on "When I Fall In Love" and especially Leonard Cohen's "A Thousand Kisses Deep." Then out glides old pal Sting (who invited Botti to join his own touring band some years ago), who has a nice go at "What Are You Doing the Rest of Your Life?", followed by jazz-blues belter Jill Scott's terrific "Good Morning Heartache." Less effective are two appearances by Paula Cole, of which the second, "The Look of Love," doesn't work particularly well for anyone, including Botti and composer-pianist Burt Bacharach (also onstage). Renee Olstead sizzles up the joint with her kittenish "Pennies from Heaven," and Sting returns for a comic if touching "My Funny Valentine." --Tom Keogh Jazz trumpeter Chris Botti is mostly exquisite on this concert DVD, which gives old fans and new arrivals a chance to hear him apply his rich, expressive playing to a number of old standards, as well as one or two of his own compositions. Botti, along with a remarkable band including Billy Childs on piano and Billy Kilson on drums, plays six numbers as instrumentals but is joined on eight other performances by a few guests. Sans vocals, Botti warms up a delighted audience with a nice, if slightly exercised, take on "Someone to Watch Over Me," but proves magnificent on "When I Fall In Love" and especially Leonard Cohen's "A Thousand Kisses Deep." Then out glides old pal Sting (who invited Botti to join his own touring band some years ago), who has a nice go at "What Are You Doing the Rest of Your Life?", followed by jazz-blues belter Jill Scott's terrific "Good Morning Heartache." Less effective are two appearances by Paula Cole, of which the second, "The Look of Love," doesn't work particularly well for anyone, including Botti and composer-pianist Burt Bacharach (also onstage). Renee Olstead sizzles up the joint with her kittenish "Pennies from Heaven," and Sting returns for a comic if touching "My Funny Valentine." --Tom Keogh Release Date: 01 August, 2006 DVD More Info... List Price: $14.98 Our Price: $12.99
Ken Burns's Jazz: The Story of American Music by Various Artists
This five-CD box set soundtrack to filmmaker Ken Burns's 10-part, 19-hour documentary Jazz spans nearly a century of jazz styles, from the martial rhythms of James Reese Europe to the soul-jazz of Grover Washington Jr. It includes time-tested classics like Benny Goodman's 1938 classic, "Sing, Sing, Sing"; John Coltrane's chanting 1965 immortal track, "A Love Supreme"; Billie Holiday's blue-ember ballad, "God Bless the Child"; and Ella Fitzgerald peeling off "A-Tisket A-Tasket." Bebop is represented by Charlie Parker's orchestral bop version of "Just Friends"; Thelonious Monk's nocturnal calling card, "'Round Midnight"; and Dizzy Gillespie's "Salt Peanuts" and "Groovin' High." The jazz-instrumentalist-as-singer comes to life on Coleman Hawkins's "Body and Soul" and Horace Silver and the Jazz Messengers' "Doodlin'." Clifford Brown and Max Roach's "I Get a Kick out of You" epitomizes the hard-bop era, while Miles Davis's "So What" stands as the modal masterpiece. The cool school is in session with Chet Baker and Gerry Mulligan dishing out "Walkin' Shoes," and the Modern Jazz Quartet's soulful elegy "Django" straddles all the above musical orbits. As for Django Reinhardt, he's featured on "Shine" with the justly famed Le Quartet du Hot Club de France. Louis Armstrong's "West End Blues" and "Potato Head Blues" and Duke Ellington's rousing rendition of Billy Strayhorn's anthem, "Take the A Train," and his moody "Solitude" show why they are the Olympian masters of this art form--and the most frequently featured artists in the series. Although Ken Burns tries bringing the music up-to-date with Wynton Marsalis, Cassandra Wilson, and two jazz-hip-hop-influenced tracks--Herbie Hancock's robotic "Rockit" and the French-language "Un Aige en Danger" by MC Solaar and bass legend Ron Carter--there are significant holes here. After Cecil Taylor and Ornette Coleman, the avant-garde period from the late 1960s to the 1980s is lacking. And aside from the bossa nova hit "Desafinado," Latin jazz is also missing. It's a tough task summarizing jazz in five CDs, and Burns has given us a vibrant and vivid multicolored aural portrait of the music. --Eugene Holley Jr.
The jazz-instrumentalist-as-singer comes to life on Coleman Hawkins's "Body and Soul" and Horace Silver and the Jazz Messengers' "Doodlin'." Clifford Brown and Max Roach's "I Get a Kick out of You" epitomizes the hard-bop era, while Miles Davis's "So What" stands as the modal masterpiece. The cool school is in session with Chet Baker and Gerry Mulligan dishing out "Walkin' Shoes," and the Modern Jazz Quartet's soulful elegy "Django" straddles all the above musical orbits. As for Django Reinhardt, he's featured on "Shine" with the justly famed Le Quartet du Hot Club de France. Louis Armstrong's "West End Blues" and "Potato Head Blues" and Duke Ellington's rousing rendition of Billy Strayhorn's anthem, "Take the A Train," and his moody "Solitude" show why they are the Olympian masters of this art form--and the most frequently featured artists in the series. Although Ken Burns tries bringing the music up-to-date with Wynton Marsalis, Cassandra Wilson, and two jazz-hip-hop-influenced tracks--Herbie Hancock's robotic "Rockit" and the French-language "Un Aige en Danger" by MC Solaar and bass legend Ron Carter--there are significant holes here. After Cecil Taylor and Ornette Coleman, the avant-garde period from the late 1960s to the 1980s is lacking. And aside from the bossa nova hit "Desafinado," Latin jazz is also missing. It's a tough task summarizing jazz in five CDs, and Burns has given us a vibrant and vivid multicolored aural portrait of the music. --Eugene Holley Jr.
A Tale of God's Will (A Requiem for Katrina) by Terence Blanchard
For all the anger and devastation trumpeter Terence Blanchard has felt in the months since Hurricane Katrina ravaged his hometown of New Orleans--and the federal government failed it so shamefully--this elegiac orchestral work is remarkably clear-eyed, restrained, and, in the end, hopeful. That isn't to say pieces like "Funeral Dirge" and "Levees" don't impart deep and dark emotion. But even with strings at their back, Blanchard and the members of his first-rate working quintet (all of whom contribute compositions) never indulge in sentimentality. Blanchard's debt to Miles Davis is pronounced in his pinched lyricism and the economy of his virtuosic effects. The richly hued work washes over the listener, revealing more with each playing. --Lloyd Sachs For all the anger and devastation trumpeter Terence Blanchard has felt in the months since Hurricane Katrina ravaged his hometown of New Orleans--and the federal government failed it so shamefully--this elegiac orchestral work is remarkably clear-eyed, restrained, and, in the end, hopeful. That isn't to say pieces like "Funeral Dirge" and "Levees" don't impart deep and dark emotion. But even with strings at their back, Blanchard and the members of his first-rate working quintet (all of whom contribute compositions) never indulge in sentimentality. Blanchard's debt to Miles Davis is pronounced in his pinched lyricism and the economy of his virtuosic effects. The richly hued work washes over the listener, revealing more with each playing. --Lloyd Sachs Release Date: 14 August, 2007 Audio CD More Info... List Price: $17.98 Our Price: $11.97
A Thousand Kisses Deep by Chris Botti
Release Date: 30 September, 2003 Audio CD More Info... List Price: $13.98 Our Price: $8.97
![Chris Botti: Live (With Orchestra and Special Guests) [Blu-ray] by Chris Botti](http://ecx.images-amazon.com/images/I/21wihVF9YML.jpg)
Chris Botti: Live (With Orchestra and Special Guests) [Blu-ray] by Chris Botti
Jazz trumpeter Chris Botti is mostly exquisite on this concert DVD, which gives old fans and new arrivals a chance to hear him apply his rich, expressive playing to a number of old standards, as well as one or two of his own compositions. Botti, along with a remarkable band including Billy Childs on piano and Billy Kilson on drums, plays six numbers as instrumentals but is joined on eight other performances by a few guests. Sans vocals, Botti warms up a delighted audience with a nice, if slightly exercised, take on "Someone to Watch Over Me," but proves magnificent on "When I Fall In Love" and especially Leonard Cohen's "A Thousand Kisses Deep." Then out glides old pal Sting (who invited Botti to join his own touring band some years ago), who has a nice go at "What Are You Doing the Rest of Your Life?", followed by jazz-blues belter Jill Scott's terrific "Good Morning Heartache." Less effective are two appearances by Paula Cole, of which the second, "The Look of Love," doesn't work particularly well for anyone, including Botti and composer-pianist Burt Bacharach (also onstage). Renee Olstead sizzles up the joint with her kittenish "Pennies from Heaven," and Sting returns for a comic if touching "My Funny Valentine." --Tom Keogh Jazz trumpeter Chris Botti is mostly exquisite on this concert DVD, which gives old fans and new arrivals a chance to hear him apply his rich, expressive playing to a number of old standards, as well as one or two of his own compositions. Botti, along with a remarkable band including Billy Childs on piano and Billy Kilson on drums, plays six numbers as instrumentals but is joined on eight other performances by a few guests. Sans vocals, Botti warms up a delighted audience with a nice, if slightly exercised, take on "Someone to Watch Over Me," but proves magnificent on "When I Fall In Love" and especially Leonard Cohen's "A Thousand Kisses Deep." Then out glides old pal Sting (who invited Botti to join his own touring band some years ago), who has a nice go at "What Are You Doing the Rest of Your Life?", followed by jazz-blues belter Jill Scott's terrific "Good Morning Heartache." Less effective are two appearances by Paula Cole, of which the second, "The Look of Love," doesn't work particularly well for anyone, including Botti and composer-pianist Burt Bacharach (also onstage). Renee Olstead sizzles up the joint with her kittenish "Pennies from Heaven," and Sting returns for a comic if touching "My Funny Valentine." --Tom Keogh Release Date: 29 May, 2007 Blu-ray More Info... List Price: $21.98 Our Price: $14.95 |
Acid Jazz
Simple Things by Zero 7
Zero 7's ability to conjure beautiful lullabies with all the romance of 1960s French pop (as found on their debut LP, Simple Things) would have made them the toast of soundtrack composers and chill-out connoisseurs the world over. Unfortunately, two Frenchmen beat Henry Binns and Sam Hardaker to the title of "masters of comedown cool," leaving the London duo to be forever called "the British Air." And this is fair; the similarities between Zero 7's lush cinematic soundscapes and those of Air's Moon Safari and the Virgin Suicides score are so strong as to sound almost intentional. Nonetheless, their debut is a truly gorgeous album. It has all the tried and tested atmospheric tricks--bleeps and whooshes layered over plodding Fender Rhodes chords, swathes of strings and tender trumpet parps--but it's Binns and Hardaker's languid grooves and the soft melancholy of their melodies that make dream-state instrumentals "Give It Away" and "Polaris" utterly enchanting. The real power of Simple Things, however, is in its songs. As beautiful as the ambient strains are, when laid beneath the seductive vocals of Australian diva Sia on the ethereal "Destiny" or the heart-breaking "Distractions," their potency becomes apparent. --Dan Gennoe Zero 7's ability to conjure beautiful lullabies with all the romance of 1960s French pop (as found on their debut LP, Simple Things) would have made them the toast of soundtrack composers and chill-out connoisseurs the world over. Unfortunately, two Frenchmen beat Henry Binns and Sam Hardaker to the title of "masters of comedown cool," leaving the London duo to be forever called "the British Air." And this is fair; the similarities between Zero 7's lush cinematic soundscapes and those of Air's Moon Safari and the Virgin Suicides score are so strong as to sound almost intentional. Nonetheless, their debut is a truly gorgeous album. It has all the tried and tested atmospheric tricks--bleeps and whooshes layered over plodding Fender Rhodes chords, swathes of strings and tender trumpet parps--but it's Binns and Hardaker's languid grooves and the soft melancholy of their melodies that make dream-state instrumentals "Give It Away" and "Polaris" utterly enchanting. The real power of Simple Things, however, is in its songs. As beautiful as the ambient strains are, when laid beneath the seductive vocals of Australian diva Sia on the ethereal "Destiny" or the heart-breaking "Distractions," their potency becomes apparent. --Dan Gennoe Release Date: 13 November, 2001 Audio CD More Info... List Price: $17.98 Our Price: $13.97
En Route by Four80East
Release Date: 24 April, 2007 Audio CD More Info... List Price: $16.98 Our Price: $13.99
The Mirror Conspiracy by Thievery Corporation
Washington, D.C.'s Thievery Corporation purvey a very mellow, deliberately international mixture of sounds that might be called "lounge music"--not in the kitschy sense, but in the sense of a laid-back local bar (much like the one the duo happens to run) with no dance floor. Rob Garza and Eric Hilton are professed admirers of Brazilian music, and they're determined to inject as much warmth into electronic music as possible. The Mirror Conspiracy is quite a musical travelogue, starting in Jamaica with "Treasures." This dubby opening track, which features vocalist Brother Jack, is quite reminiscent of the start of Swayzak's Himawari. Next up is "Le Monde," a quiet, wah-wah-inflected song featuring a chanteuse named Lou Lou. She reappears later on the somewhat more uptempo "Shadows of Ourselves," which, despite the title, is also sung in French. "The Hong Kong Triad" sounds like a tip of the hat to Shaft-styled soundtrack music. Elsewhere, it's off to India for two sitar-flavored tracks with a similarly laidback groove that gets a bit closer to techno, one of which, "Lebanese Blonde" (hash? a woman?), has been released as a single. Brazil gets its due on the densely percussive "Air Batucada," the more bossa nova-like "So Com Voce," and an instrumental titled "Samba Tranquille." Fans of this style are sure to be pleased. --Bob Bannister Washington, D.C.'s Thievery Corporation purvey a very mellow, deliberately international mixture of sounds that might be called "lounge music"--not in the kitschy sense, but in the sense of a laid-back local bar (much like the one the duo happens to run) with no dance floor. Rob Garza and Eric Hilton are professed admirers of Brazilian music, and they're determined to inject as much warmth into electronic music as possible. The Mirror Conspiracy is quite a musical travelogue, starting in Jamaica with "Treasures." This dubby opening track, which features vocalist Brother Jack, is quite reminiscent of the start of Swayzak's Himawari. Next up is "Le Monde," a quiet, wah-wah-inflected song featuring a chanteuse named Lou Lou. She reappears later on the somewhat more uptempo "Shadows of Ourselves," which, despite the title, is also sung in French. "The Hong Kong Triad" sounds like a tip of the hat to Shaft-styled soundtrack music. Elsewhere, it's off to India for two sitar-flavored tracks with a similarly laidback groove that gets a bit closer to techno, one of which, "Lebanese Blonde" (hash? a woman?), has been released as a single. Brazil gets its due on the densely percussive "Air Batucada," the more bossa nova-like "So Com Voce," and an instrumental titled "Samba Tranquille." Fans of this style are sure to be pleased. --Bob Bannister Release Date: 22 August, 2000 Audio CD More Info... List Price: $15.98 Our Price: $13.99
Koop Islands by Koop
Release Date: 09 October, 2007 Audio CD More Info... List Price: $13.98 Our Price: $12.99
From the Corner to the Block by Galactic
Release Date: 21 August, 2007 Audio CD More Info... List Price: $16.98 Our Price: $13.99
The Cosmic Game by Thievery Corporation
There's always been a psychedelic edge to Rob Garza and Eric Hilton's Thievery Corporation project. 2000's Mirror Conspiracy is a downtempo classic precisely because of its druggy expansiveness; sober listeners and saucer-eyed trippers alike could find common ground. Similarly esoteric and nocturnal, The Cosmic Game floats around the room on a wave of mystic beats and guest vocals from Perry Farrell, The Flaming Lips' Wayne Coyne, and David Byrne. Garza and Hilton are less devoted to non-electronic sources here than they were on The Richest Man in Babylon or The Outernational Sound, though their fascination with dub rhythms and world music remains intact. A fair amount of armchair travel is involved as you go from the late, late-night, beach-club-in-Jamaica sound of "Amerimacka," to the Brazilian percussion of "Ambicion Eterna" and "Pela Janela." But more than anything, the record feels like a return to the duo's own ethereal sonic roots. It's a nice blend of their music over the last half-decade for longtime fans, and a hazy glide down the rabbit hole for newcomers. --Matthew Cooke There's always been a psychedelic edge to Rob Garza and Eric Hilton's Thievery Corporation project. 2000's Mirror Conspiracy is a downtempo classic precisely because of its druggy expansiveness; sober listeners and saucer-eyed trippers alike could find common ground. Similarly esoteric and nocturnal, The Cosmic Game floats around the room on a wave of mystic beats and guest vocals from Perry Farrell, The Flaming Lips' Wayne Coyne, and David Byrne. Garza and Hilton are less devoted to non-electronic sources here than they were on The Richest Man in Babylon or The Outernational Sound, though their fascination with dub rhythms and world music remains intact. A fair amount of armchair travel is involved as you go from the late, late-night, beach-club-in-Jamaica sound of "Amerimacka," to the Brazilian percussion of "Ambicion Eterna" and "Pela Janela." But more than anything, the record feels like a return to the duo's own ethereal sonic roots. It's a nice blend of their music over the last half-decade for longtime fans, and a hazy glide down the rabbit hole for newcomers. --Matthew Cooke Release Date: 22 February, 2005 Audio CD More Info... List Price: $15.98 Our Price: $13.99
Ma Fleur by The Cinematic Orchestra
Cinematic Orchestra's fourth studio album, Ma Fleur soars from start to finish. The disc opens with the all-too-brief "That Home" which showcases a new guest vocalist brought into the Orchestra clan, Montreal native Patrick Watson whose Coldplay-meets-Jeff-Buckley fragility fits inside the folds of the sparse melody perfectly; his contribution to the sweeping soundscape of closer "To Build a Home" proves equally spectacular, adding an increased vulnerability and richness to the music. "Time and Space," featuring enigmatic Lamb frontwoman Lou Rhodes, offers the perfect combination of vocal ache with the lushness of cello and violin, eventually expanding into a full contemporary-classical-meets-downtempo vibe. Former contributing vocalist Fontella Bass once again brings her timeless soul to the mix ("Breathe" and "Familiar Ground") which will delight longtime fans of the U.K. band. Fans of Cinematic Orchestra's more upbeat hip-hop and jazz numbers from previous releases will discover that there is nothing especially uptempo on this disc; in certain respects, the evenness of Zero 7 discs may provide a more apt comparison, contextually. While that may frustrate some, the power of Ma Fleur from beginning to end is a holistic package of sensuality and softness that makes for a nearly perfect, perfectly timeless release. --Denise Sheppard Cinematic Orchestra's fourth studio album, Ma Fleur soars from start to finish. The disc opens with the all-too-brief "That Home" which showcases a new guest vocalist brought into the Orchestra clan, Montreal native Patrick Watson whose Coldplay-meets-Jeff-Buckley fragility fits inside the folds of the sparse melody perfectly; his contribution to the sweeping soundscape of closer "To Build a Home" proves equally spectacular, adding an increased vulnerability and richness to the music. "Time and Space," featuring enigmatic Lamb frontwoman Lou Rhodes, offers the perfect combination of vocal ache with the lushness of cello and violin, eventually expanding into a full contemporary-classical-meets-downtempo vibe. Former contributing vocalist Fontella Bass once again brings her timeless soul to the mix ("Breathe" and "Familiar Ground") which will delight longtime fans of the U.K. band. Fans of Cinematic Orchestra's more upbeat hip-hop and jazz numbers from previous releases will discover that there is nothing especially uptempo on this disc; in certain respects, the evenness of Zero 7 discs may provide a more apt comparison, contextually. While that may frustrate some, the power of Ma Fleur from beginning to end is a holistic package of sensuality and softness that makes for a nearly perfect, perfectly timeless release. --Denise Sheppard Release Date: 05 June, 2007 Audio CD More Info... List Price: $15.98 Our Price: $13.99
Travelling Without Moving by Jamiroquai
Adding pop savvy to their soul-disco mix, Jamiroquai grabbed the attention of MTV and Top 40 radio and won a Grammy with this platinum-selling album, their third. It's a fine record, with warm keyboards, sweet strings, and irrepressible grooves grounding Jay Kay's sublime vocals and fueling the hits ("Virtual Insanity," "Cosmic Girl," the title track). That voice--elastic, jazzy--is the fire of the band, but immaculate guitar sounds, snappy backup vocals, and clever old-school soul samples (Eddie Harris on "Alright," Esther Phillips on "High Times") are the details that create perfection. Balancing the dance-ready, radio-friendly tracks are the ballads "Everyday" and "Spend a Lifetime," the reggae-styled "Drifting Along," and a couple of didjeridoo instrumentals. --Suzanne McElfresh Adding pop savvy to their soul-disco mix, Jamiroquai grabbed the attention of MTV and Top 40 radio and won a Grammy with this platinum-selling album, their third. It's a fine record, with warm keyboards, sweet strings, and irrepressible grooves grounding Jay Kay's sublime vocals and fueling the hits ("Virtual Insanity," "Cosmic Girl," the title track). That voice--elastic, jazzy--is the fire of the band, but immaculate guitar sounds, snappy backup vocals, and clever old-school soul samples (Eddie Harris on "Alright," Esther Phillips on "High Times") are the details that create perfection. Balancing the dance-ready, radio-friendly tracks are the ballads "Everyday" and "Spend a Lifetime," the reggae-styled "Drifting Along," and a couple of didjeridoo instrumentals. --Suzanne McElfresh Release Date: 14 January, 1997 Audio CD More Info... List Price: $11.98 Our Price: $10.99
Chillounge by Various Artists
Release Date: 20 January, 2006 Audio CD More Info... List Price: $16.98 Our Price: $13.99
Supercharged by Down to the Bone
Release Date: 19 June, 2007 Audio CD More Info... List Price: $18.98 Our Price: $14.99 |
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