Saxophone

Editorial Reviews
Album Description
This is the fourth CD from the archive and studio of Philip Glass relased by Orange Mountain Music.

This CD of solo and all-saxophone compositions contains The world renowned Raschèr Saxophone Quartet’s brilliant recording of "The Saxophone Concerto (Quartet Version)". The Raschèr Quartet has performed this piece 90 times in the major concert halls of Europe and United States and it shows. This stunning recording was produced by Mr. Glass’ production team, Kurt Munkasci and Michael Riesman, in 1998 at the Looking Glass Studios.

Also represented is one of New York’s preeminent woodwind players, Andrew Sterman, performing "Melodies for Saxophone", 13 shorter pieces for solo saxophone, some of which were inspiration for the Saxophone Concerto.

The disc is completed with a new recording, "The Windcatcher". The veteran Philip Glass Ensemble Woodwind players, Jon Gibson, Richard Peck, and Andrew Sterman performed this composition for saxophone sextet. Messrs. Gibson, Peck and Sterman have made enormous contributions to Philip Glass’ music for several years (over 70 years among them!) and their ongoing participation in the ensemble continues to assure its excellence. This Michael Riesman/Don Christensen-produced recording exhibits their extraordinary ensemble sensibilities and their keen understanding of Philip’s music. The Saxophone CD is 61 minutes long and has a 12 page booklet of liner notes providing background on the compositions, recordings and players.

Saxophone, Music, Andrew Sterman, Philip Glass, Rascher Saxophone Quartet, The Philip Glass Ensemble [Woodwinds], Chamber, Chamber Music, Chamber Music & Recitals, Classical, Classical Composers, Classical Music, Concerto, Concerto for More Than Three Solo Instruments, Saxophone Solo/Sonata

Pilgrimage
Average customer rating:

Tragic Loss

Gone before his time

Michael Brecker's Best Ever.

The final opus from one of the CATS

fabulous

Pilgrimage
Michael Brecker
Manufacturer: Heads Up
ProductGroup: Music
Binding: Audio CD

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ASIN: B000OHZJA0
Release Date: 2007-05-22

Tracks:

The Mean Time
Five Months From Midnight
Anagram
Tumbleweed
When Can I Kiss You Again?
Cardinal Rule
Half Moon Lane
Loose Threads
Pilgrimage

Amazon.com

Clocking in at nearly 80 minutes, this posthumous release comprises the last recordings Michael Brecker made before his untimely death in January 2007. Battling the debilitating effects of leukemia, he sought comfort, strength, and transcendence through music. The all-star lineup on Pilgrimage, which includes Herbie Hancock, Brad Mehldau, Pat Metheny, Jack DeJohnette, and John Patitucci, has worked in various combinations over the past four decades. Here, they perform with the compelling group interplay of a longstanding ensemble. Brecker's nine compositions mark the first time he made an album solely of his own material. This is further testament to the creative drive that helped sustain him during his physical decline. From balladry to classic post-bop reveries, Brecker has fashioned one of his finest albums, and certainly his most personal work. The disc closes with the title track, which was also--fittingly--the last number he recorded. Never maudlin, this music and these fine musicians celebrate the power of music to connect human beings to one another, note by note, measure by measure. --David Greenberger

Customer Reviews:

Tragic Loss.......2007-07-20

This is a fitting tribute to a great artist. As someone else said, "It softens the blow".

Gone before his time.......2007-07-18

The great music on this cd helps soften the blow of losing such a talented saxophonist as Michael Brecker. The musicicians play as if they knew this would probably be his last cd, and unfortunately it was.

Michael Brecker's Best Ever........2007-07-09

I think other reviewers have said it better than I could when it comes to Michael Brecker's final album "Pilgrimage" so, I'll be brief. This is his best album ever. The playing as well as the musicianship between Brecker and his all-star line-up of Pat Metheny, Herbie Hancock, Jack DeJohnette, John Patitucci and Brad Mehldau is stellar on every track here. There isn't one weak track recorded here.
"Pilgrimage" features his best playing and his best compositions - truly a testament and high mark in the legacy of this respected sax player. If you don't believe me, read the other reviews here and then buy this CD.
An Instant Classic for 2007.
Rest in Peace, Michael.

The final opus from one of the CATS.......2007-07-04

Great writing, great playing, great ensemble guys. Great record.

RIP, Michael. You'll be missed, champ.

fabulous.......2007-07-03

If you are a fan of Michael Brecker this is a must have. As if the fact that it will be the last cd he ever releases isn't enough reason to purchase it, it is also a remarkable musical masterpiece. I honestly do not know how he managed to play at a level that is above the usual while practically on his death bed. The accompanying musicians are as good as they get as well, so the interaction between players and overall playing is just spectacular throughout.

Average customer rating:

Masterpiece
Coltrane does it again!
Rookie Coltrane Listener
Deeply moving...
Indispensable to all music listeners

A Love Supreme
John Coltrane
Manufacturer: Impulse Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000A118M
Release Date: 2003-08-19

Tracks:

Acknowledgement
Resolution
Pursuance
Psalm

Amazon.com

A Love Supreme is a suite about redemption, a work of pure spirit and song, that encapsulates all the struggles and aspirations of the 1960s. Following hard on the heels of the lyrical, swinging Crescent, A Love Supreme heralded Coltrane's search for spiritual and musical freedom, as expressed through polyrhythms, modalities, and purely vertical forms that seemed strange to some jazz purists, but which captivated more adventurous listeners (and rock fellow travelers such as the Jimi Hendrix Experience, Cream, and the Byrds), while initiating a series of volatile, unruly prayer offerings, including Kulu Su Mama, Ascension, Om, Meditations, Expression, Interstellar Space. From the urgent speech-like timbre of his tenor, to the serpentine textures and earthy groove of Elvin Jones's drumming, Coltrane's suite proceeds with escalating intensity, conveying a hard-fought wisdom and a beckoning serenity in the prayer-like drones of "Psalm," where Jones rolls and rumbles like thunder as Garrison and Tyner toll away suggestively--all the while Coltrane searches for that one climactic note worthy of the love he wants to share. --Chip Stern

Customer Reviews:

Masterpiece.......2007-06-26

There is nothing I can add to what has already been said about this recording. Simply amazing and will always withstand the test of time.

Coltrane does it again!.......2007-06-11

This is one of the top 5 albums of all time. Coltrane is on fire, McCoy is on fire, Jimmy Garrison is on fire, and Elvin is murderous. Out of all of tunes, my fav is Pursuance. It's passionate, has a hard bopish-avantgarde feel and yet it still swings. Out of the park!

Rookie Coltrane Listener.......2007-05-26

For years my very good friend who prides himself on being a music aficionado and "snob", much like Jack Black's character in High Fidelity, has been raving about John Coltrane and a "Love Supreme". I however, have been firmly encamped in the classic rock, blues and pop of the 50's, 60's & 70's. I always felt the jazz style that Coltrane and others of that genre played, was way above my head. Though I appreciated the musicianship to the degree I could, I didn't particularly care for it. I didn't "get it".

But now as I reach the half-way point in my fifties, I wanted to force my self to listen and try to see just what it is about Coltrane that so many folks find extrodinary. So my friend recommended A Love Supreme. I listened and listened and virtually immersed my self in the recording until passages became familiar. Now I have a glimmer, an embryonic appreciation of the man's gift. I put it on for my 17 year old daughter and she loves it! It grows on you and I think maybe for the first time I'm experiencing what that type of jazz can do for you. Live & learn!

Deeply moving..........2007-04-20

This is a deeply spiritual album. It never ceases to move me in some way everytime I hear it. It feels so real and authentic that if you're not careful, you may shed a tear of joy or two. It's just one long suite, made by Coltrane after he kicked his heroin habit and found his soul and God again. It's not often one describes a jazz album as moving (Miles's Sketches of Spain is the only one who comes to mind), but there's really no other way to describe this wonderful, transcendent, beguiling album.

Indispensable to all music listeners.......2007-04-08

Like "Kind of Blue" this is a recording accessible to all listeners, resisting facile classifications (fusion, jazz, modal, musician's music, general public's music, etc.). Coltrane's Promethean questing sweeps up and includes the listener, taking him or her through the hero's journey, which concludes on an affirmative note of thanksgiving and peace. Moreover, the musical motifs are in themselves memorable, satisfying the listener's need for a musical stronghold in which to ground the spiritual thrust of the extra-musical religious-spiritual meanings.

Of the recordings after "A Love Supreme," "Transition" achieves a similar visionary ascent, though much of the recorded documentation of Coltrane's last two years is likely to prove inaccessible or at least less engaging to the average listener. It's music "in" but also "of" the moment, a record of pain and anger, protest and revolution, carrying an unmistakable political subtext that frequently overwhelms the main musical text.

Arguably the most influential instrumentalist of the past 50 years, Coltrane left the listener plenty of choices, should the recordings after "A Love Supreme" prove unsatisfying. "My Favorite Things" is the perfect antidote to the cloying soprano sax sound of Kenny G. (as is the soprano sax playing of the deeply expressive and moving traditionalist, Sidney Bechet). For every serious musician, however, perhaps the one recording by Coltrane that belongs at the top is "Giant Steps." Once a musician has mastered the dominant-tonic movement of popular harmonies, the next essential step is learning how to negotiate the "Giant Steps"/"Count Down" harmonic movement that Coltrane introduced. Before learning the theory, however, a listener needs to experience the stunning freshness that is its musical result. With the motivation, the theory is likely to be realized far more efficiently and effectively.

Average customer rating:

It just doesn't get any better......
Every Collector's Must Have!
Beautiful
View fom Sugarloaf Mountain
Riding at Full Throttle on Top of Bossa Nova!

Getz/Gilberto
Stan Getz , Joao Gilberto , and Astrud Gilberto
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000047CX
Release Date: 1997-05-20

Tracks:

The Girl From Ipanema
Doralice
Para Machuchar Meu Coracao
Desafinado (Off Key)
Corcovado (Quiet Nights Of Quiet Stars)
So Danco Samba
O Grande Amor
Vivo Sonhando (Dreamer)
The Girl From Ipanema - 45 RPM Issue
Corcovado (Quiet Nights Of Quiet Stars) - 45 RPM Issue

Amazon.com essential recording

Originally released in March 1964, this collaboration between saxophonist Stan Getz and guitarist João Gilberto came at seemingly the end of the bossa nova craze Getz himself had sparked in 1962 with Jazz Samba, his release with American guitarist Charlie Byrd. Jazz Samba remains the only jazz album to reach number one in the pop charts. In fact, the story goes that Getz had to push for the release of Getz/Gilberto since the company did not want to compete with its own hit; it was a good thing he did. Getz/Gilberto, which featured composer Antonio Carlos Jobim on piano, not only yielded the hit "Girl from Ipanema" (sung by Astrud Gilberto, the guitarist's wife, who had no professional experience) but also "Corcovado" ("Quiet Night")--an instant standard, and the definitive version of "Desafinado." Getz/Gilberto spent 96 weeks in the charts and won four Grammys. It remains one of those rare cases in popular music where commercial success matches artistic merit. Bossa nova's "cool" aesthetic--with its understated rhythms, rich harmonies, and slightly detached delivery--had been influenced, in part, by cool jazz. Gilberto in particular was a Stan Getz fan. Getz, with his lyricism, the bittersweet longing in his sound, and his restrained but strong swing, was the perfect fit. His lines, at once decisive and evanescent, focus the rest of the group's performance without overpowering. A classic. --Fernando Gonzalez

Customer Reviews:

It just doesn't get any better.............2007-06-30

....than this. Some very good albums may define a singer; some great ones, like "Tapestry" and "No Secrets", can define a whole generation. Here, we have an album so great we could use it to define "music".

There are conflicting stories as to how this recording, or, at least, Astrud Gilberto's part in it, came to be. At this distance in time, who cares? The late Stan Getz was said to be an unpleasant man. Who cares? He was, you see, a genius, who played the sax like nobody before, or since. Astrud Gilberto supports some political causes that I can't stand. Who cares? She's the prototype of a whole genre...another may be a little prettier, or have a little better voice, but Astrud is still "the original"; all others are copies. Music and politics shouldn't mix, anyway.

Here we have a collection of talent in one place not equaled till "The Blues Brothers". Besides Getz and Astrud, we have Antonio Carlos Jobim and Astrud's then husband, Joao. Great music, well played, and recorded to perfection. EVERYBODY needs at least one copy of this.

Every Collector's Must Have!.......2007-06-08

This is a classic if you don't have this you are missing out! Very relaxing.

Beautiful.......2007-05-22

This is a classic and worth its great reputation. No wonder it has remained popular for so many, many years. It is one of the few albums I enjoyed as a teenager and still enjoy 40 years later!

View fom Sugarloaf Mountain.......2007-03-14

Much has been said about this disc over the past nearly 45 years since it's recording and here at Amazon; mostly all positive here as the 136 reviews averaging five stars can testify to. I listened to this LP many years, off and on since it's original release and recently purchased the CD version so I may take it anywhere on my I-Pod. It goes without saying it is essential music. The understated vibe whispers classic. The pairing of Getz and Gilberto seems as natural and beautiful as sunsets on the beach on Rio de Janeiro. The soft sensual vocals of Joao and Astrud Gilberto pair well with the robust yet minimilist sax work Stan Getz to create an exquisite recording. The contribution by Antonio Carlos Jobim on piano cannot be overlooked as he helped create the total ambience. Soft romantic melodies results from the joining of these two forces in their respective fields to create the definitive bossa nova sound. The model for which bossa nova has been defined by is the quintessential "The Girl From Ipanema" features the famous duet by husband and wife Astrud and Joao Gilberto that is complimented by the cool tenor sax work by Getz twice on this disc;included is the 45rpm issue that was popular on the airwaves during the time period.It is ironic that Gilberto and Antonio Carlos Jobim did not want her to sing on what has become arguably one of the most recognized bossa nova songs ever recorded. The total recording is a reflection of a turbulent time in the world when peaceful music waft down from Sugarloaf mountain for the world to take notice and they have never stopped noticing. Maybe in our contemporay world of war and chaos we need more of the peaceful vibe of the bossa nova again. If you have never experienced this classic recording, check it out,it does still sound good after all these years. Recommended for jazz and Brazilian music enthusiasts.

Riding at Full Throttle on Top of Bossa Nova!.......2007-02-17

Bossa Nova started in Brazil in the late `50s. The "First Generation" included Antonio Carlos Jobim, Joao Gilberto and Vinicius de Moraes as their main artists. Their themes were composed focusing on "Love, Smiles & Flowers" and greatly influenced Latin America's music and even USA's jazz composers.

The present CD was recorded in 1963 when Bossa Nova was the "new thing" mixing with Jazz and conquering USA.
Three geniuses, Joao Gilberto (guitar and vocals), Stan Getz (tenor saxophone) and "Tom" Jobim (piano and composer of eight of the ten musical pieces in the CD) join and mix their efforts to give the audience an outstanding performance.
On top of all that Astrud Gilberto sang "Girl from Ipanema" (she had never before performed professionally) and became instantly a star.
Sebastiao Neto bass and Milton Banana drums complete the musical team.

"Girl from Ipanema" make you feel being at the wonderful Ipanema Beach surrounded by the loveliest girls in the world (believe me, I've been there). Astrud's voice is just unbelievable.
I recommend hearing, enjoying and comparing this song's version with the one recorded in 1967 by Sinatra and Jobim.
"Corcovado" aka "Quiet Nights of Quiet Stars" evokes those wonderful starred nights from Rio de Janeiro, with all their sensual appeal, hearing soft guitar music. Getz's saxophone phrasing is just from another world!
"Para Machucar Meu Coracao" ("To Hurt my Heart" authored by Ary Barroso) is the story of a love affaire gone sour. Joao Gilberto's voice is able to express heartrending pain.

This CD is one of the Top Popular Music in my personal selection, tied up with before mentioned Jobim-Sinatra. I recommend it warmly!
Reviewed by Max Yofre.

Average customer rating:

All Stars
Great laid back bop
It's Something Spectacular! Six Stars!
Silky Smooth Sounds for an Autumn Day!
"Allison Uncle" and "Rangoon"

Somethin' Else
Cannonball Adderley
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000I41J
Release Date: 1999-03-09

Tracks:

Autumn Leaves
Love For Sale
Somthin' Else
One For Daddy-o
Dancing In The Dark
Bangoon

Amazon.com

When alto saxophonist Cannonball Adderley culled together this quartet, he grabbed three champions from seemingly disparate schools to complement his flinty solos: Miles Davis, the king of cool; Art Blakey, the thundering force of hard bop; Hank Jones, a veteran of swing; and Sam Jones, a versatile bassist adaptable to nearly any setting. The results are one of Blue Note's most beloved albums. The open-ended beauty of "Autumn Leaves," which features Davis beautifully stating the melody on muted trumpet, sounds like it could easily be an outtake from Kind of Blue (which it isn't). The midtempo title track provides the centerpiece of this classic as Adderley echoes Miles's swaggering melody before both unravel wonderful solos. A must-have Blue Note album. --John Murph

Customer Reviews:

All Stars.......2007-06-24

This cd is packed with a roster of musicians that paved the way for the young lions of today. This is a cd that is full of jam sessions.

Great laid back bop.......2007-06-19

Not as energetic as my other favorite bebop pieces, but still very engaging, great solos. A *very* solid jazz album if there ever was one. Highly recommended.

It's Something Spectacular! Six Stars!.......2007-05-05

This is simply one of those amazing recordings that just about everyone can agree on labeling a CLASSIC. And if any jazz recording truly deserves this description, it's "Somethin' Else". It is my second favorite jazz album of all-time (right behind "Kind of Blue"). The way Miles and Cannonball play off of each other is truly somethin' special. It's like watching an old William Powell - Myrna Loy movie, or Michael Jordan and Scottie Pippen play basketball, two artists who seem to not only know the other like the back of their hand, but also seem to be able to feed off of one another, not so much in a competitive way, but more of a playful, venerating one. The result for us of course, is magical! This classic is a perfect example of why art is so important in today's society. I can be having the absolute worst day of my life, however as soon as I come home and turn a CD like this one on it's almost as if my troubles seem to vanish within minutes. Try to it sometime, and see if I am just throwing out b.s. hyperbole. If you are a jazz fan and this doesn't do it for you, then I don't know what to recommend besides maybe some wine or opium. It would be like a classic rock fan who doesn't like "Revolver" or "Dark Side of the Moon". You might get a few fickle jazz fans out there who prefer different cups of tea, but for the most part (as you can also see by the five-star Amazon rating) this one is a no-brainer as most jazz zealots will agree.

This album is just over 43 minutes of pure bliss. Everytime I play this one I enjoy it more than the time before. And what's really ironic is the fact that everytime I play it I think the opposite - that I am actually going to be sick of the CD by now because of the many times I've already played it. That Miles Davis sure had some kind of run during 1958 and 1959. Has anyone in the history of music (the Beatles included) contributed more in nearly a two year span than this man? Along with "Somethin' Else" and "Kind of Blue" there were also "Milestones", "Sketches of Spain", "Porgy and Bess", etc... Not too shabby to say the least.

So please, if you are new to jazz music, make this purchase right away. It's not just about Miles and Cannonball, the rest of the quintet, the outstanding rythm section - Art Blakey (drums), Sam Jones (bass), and Hank Jones (piano) - all give inspired performances. I have never heard Art Blakey so restrained, but it works to perfection on this recording and his performance was perfect for it's subtle, yet soft nature (yes, drums can actually sound serene). This one deserves to be in it's own category - 6 STAR REVIEW!

Silky Smooth Sounds for an Autumn Day!.......2006-10-04

I first acquired this album as a cassette and wore it out because I loved it so much. I'm happy to say that sound quality of the cd version is absolutely amazing and crystal clear. You'll feel like you're in the same room with these guys even though this timeless music was recorded nearly 50 years ago! As a jazz musician I know that "Autumn Leaves" has become a song the many people are frankly tired of, but this is the best version you'll ever hear. There is little doubt that Cannonball was the greatest alto sax player in jazz history, and certainly one of the most lyrical and explosive horn players in all of jazz during his lifetime. He shows his incredible range on the classic version of "Dancing in the Dark", taking his playing to unexpected heights. This is some of the most mellow and subtle playing you'll hear from Art Blakey on any record, but he is solid as ever and keeps the band moving right along. "One for Daddy-o" has a wonderful slow groove that works very well. The xtra track has also a very catchy melody. To put it bluntly, no jazz collection is complete without this cd. If I could only take 10 discs with me to a deserted island for the rest of my life this would probably be one of them!

"Allison Uncle" and "Rangoon".......2006-03-26

There are a few reissues of this absolutely great Cannonball Adderley recording. The first five cuts on all the reissues are the same 5 cuts that make up the original vinyl LP. A few of the reissued CD's have an additional sixth cut. The sixth cut was discovered by Blue Note and initially released in Japan in 1982 and given the name "Allison's Uncle" because Nat Adderley's daughter was born on the day it was recorded. Further research revealed that the mystery tune is a Hank Jones composition that the pianist recorded as "Rangoon" with the Gigi Gryce/Donald Byrd Jazz Lab quintet for a Jubilee label in August 1957. Therefore, please be advised that "Allison's Uncle" and "Rangoon" and the same exact cut, just with a different name for the same song. I got this info from the Rudy Van Gelder Edition footnotes by Bob Blumenthal. Tidbits like this are very important to me and thought it might be valuable to others as well.

Average customer rating:

It's official...
nice jazzy rock with brit pop
...
I sense a new wave of british bands in the horizon...
Not tired of them hanging around.

Tired of Hanging Around
The Zutons
Manufacturer: Red Int / Red Ink
ProductGroup: Music
Binding: Audio CD

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ASIN: B000EUMO00
Release Date: 2006-05-16

Tracks:

Tired of Hanging Around
It's the Little Things We Do
Valerie
Someone Watching Over Me
Secrets
How Does It Feel?
Why Don't You Give Me Your Love?
Oh Stacey (Look What You've Done!)
You've Got a Friend in Me
Hello Conscience
I Know I'll Never Leave

From Amazon.co.uk

The surprise success story of the "Scousadelic" Liverpool scene, on Tired of Hangin' Around the Zutons trump their debut with an assured, confident collection of songs that accentuate their skill for vintage R&B, white-man soul, and some of the best rowdy sax since the Specials strode the earth. Perhaps in retrospect it's easy to see why this band have struck the public nerve in the way the Coral and the Bandits never quite could. No spooked, surrealist pirate swashbucklers here--the Zutons' songs are grounded in the here and now, numbers like "It's the Little Things We Do", the sound of frontman Dave McCabe weaving an unsteady path from barstool to barstool with dwindling pay-cheque clutched in fist, or "Valerie"--a message to an ex-lover reminiscent of the tattered majesty of the Faces in their garrulous heyday. Much improved is Abi Harding's saxophone work, now capable of sensitive, jazzy undertones ("You've Got a Friend in Me") or sudden bursts of nutty, bandy-legged strut, and McCabe's soulful vocal is neatly bolstered by full-band backing vocals that add an enjoyably cabaret sense of drama to even the twitchiest blast of skiffle-punk. The sound of a band coming on in leaps and bounds. --Louis Pattison

Album Details

The Sophomore Album from the Popular Mercury Prize Nominated Band was Produced by Stephen Street (The Smiths, Kaiser Chiefs). Having Grown to Become One of the UK'S Most Popular Live Acts, this Album's Release was a Highly Anticipated Affair. Includes the First Single "Why Won't You Give Me Your Love".

Customer Reviews:

It's official..........2007-06-04

The Zutons are absolutely my new and all-time favorite band. I have yet to hear one of their songs that I didn't love. This album has more of a mainstream sound to it, but for some reason didn't even take off as well as their first. It's the perfect blend of upbeat (Valerie, Hello Conscience) and moody (I Know I'll Never Leave, How Does It Feel), with some of the most quirky and endearing lyrics I've ever heard (Someone Watching Over Me, Why Won't You Give Me Your Love). Anyone who was blown away by their first album and expects no less from their second will not be disappointed. It grows on me more with each play. Absolutely brilliant.

nice jazzy rock with brit pop.......2006-12-23

Pop/Rock

The Zutons are back with their sophomore album. If you like the first album then most likely this album is just a reminder of the first one. The sound is the same, maybe a little more rock. Yes, it is still quirky, bluesy, jazzy, and poppy. "Why Won't You Give Me Your Love" is poppy rock and the lyrical melodies are film noir-ish. The song "Valerie" is a nice ballad, while "You've Got A Friend in Me" is soft and soulful with male and female dual vocals. Be kind and lend them your ears.

CLEAN
Recommend: 9, 3, 7, 1, 10, 5

..........2006-11-28

The Zutons made a real big impression the first time around. They toured with Muse (?) in the USA and were on a TV commercial with that song "Pressure Point." They sort of fit in that goofy pirate Liverpool sound. The second album sounds far more interesting. I feel like the real band is coming out. Songs like "It's The Little Thing We Do" and "Valerie" sound more representative of this great band. "Someone Watching Over Me" is great ballad. You don't hear these songs anymore. I prefer soul singers to English ballads anyway. This is music built around a vocal styling. But the music is again totally interwoven in the Zuton fabric. I think record has a wider appeal than their first outing. I look forward to the new live shows. "Why Don't You Give Me Your Love" is a cool song. This band is young. Expect many good things from them down the road. They have played with the biggest bands in the world. It's time for people to take notice of The Zutons.

I sense a new wave of british bands in the horizon..........2006-11-10

and The Zutons are going to be at the head of the pack. You can't keep good music hidden away from the masses for long. They are an extremely versatile and ecletic band with a number of stylistic approach to music making and performances. These guys (and abi too) are definitely going to make a big splash in America real soon, i foresee that happening sometime in 07.

Not tired of them hanging around........2006-10-29

Zutons are a UK quintet from Liverpool, with a rough psychedelic rock/R&B/ska/folk sound, akin to fellow Brits, The Coral, with a small dash of The Smiths. `Tired of hanging around' is their sophomore disc, and it's already topped the UK albums chart.

In Smiths-like mode, lyric wise is the rather dark but upbeat `Oh Stacey (look what you've done)' with an accompanying morbid but hilarious video.

`Secrets' is a swinging ska tinged song (great horns) and an insistent chorus. Retro rocker `It's the little things we do' has a great guitar riff.

Title track `Tired of hanging around' features great story telling, set to a Paul Weller sound, with great harmonies, something to be found throughout the album. Other great upbeat songs are the jangly, sunny `Valerie', and the clap along `Hello conscience'.

Slowing things down are `Someone's watching over me'which starts off like a lullaby before building up to a nice guitar ballad with dreamy harmonies. `You've got a friend' is a catchy skiffle, and `I know I'll never leave' is an airy ballad with a raw vocal delivery and soothing harmonies.

I think they'll be hanging around for a long time to come...

Average customer rating:

i often wonder.
"Trane at his best. Lee Morgan not far behind.
This album got me into Jazz
Jazz Masterpiece
BLUE TRAIN: straight up

Blue Train
John Coltrane
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000005H7D
Release Date: 1997-04-01

Tracks:

Blue Train
Moment's Notice
Locomotion
I'm Old Fashioned
Lazy Bird
Blue Train (Alternate Take)
Lazy Bird (Alternate Take)

Amazon.com essential recording

Blue Train is one of those ineffable sound recordings that actually seems to capture a moment of perfect artistry. Coltrane was in the midst of a Prestige recording contract but was able to honor a previous commitment to Blue Note and release this one album. With four Coltrane originals, including the haunting theme of the title track, and one standard, this recording showed Coltrane was becoming the complete package: player, composer, and bandleader. What distinguishes this session from the Prestige dates of the same time is the easy, relaxed, and obviously well-rehearsed playing of the group, and the usual masterful recording by Rudy van Gelder. This enhanced CD-ROM also features two alternate takes. The well-designed multimedia elements, including musician interviews and pictures from the famous van Gelder studio, round this stellar session into an experience that informs and delights over and over. --Michael Monhart

Customer Reviews:

i often wonder........2007-04-12

i have actually met people who live without this album. whenever i think about that, i shake my head in wonder. i don't know how they do it.

"Trane at his best. Lee Morgan not far behind........2006-11-04

For me John Coltrane's best period was during his stint with Miles Davis, who was able to focus 'Trane's explosive impulses and make him not play so many notes, but instead the RIGHT notes. This album was recorded during that phase and it's Coltrane at his best. The songs are great and the solos memorable.

In the liner notes is a quote from a jazz musician-I forget who- who claimed that "'Trane made those other guys(the sidemen)look ridiculous. Like amateurs..." or something to that affect. The only thing ridiculous is that quote from my perspective. Lee Morgan plays with a fire and dexterity far beyond his 19 years. He doesn't allow himself to get caught up in a note-burning contest with Coltrane, but instead follows his own inner vision and plays beautifully. His understated opening salvo on the title cut is classic. 'Trane has just finished a fast, long and amazing solo and instead of trying to match it's intensity(an impossible task)Morgan goes for the less-is-more approach, softly hitting a few notes and stepping away from the mic for a pause. Then he repeats. If he didn't have the respect for JC that I know he had I would almost daresay that he was making fun of 'Trane's excess!

The rest of the players acquit themselves admirably as well. An essential album.

This album got me into Jazz.......2006-07-21

This is the album that inspired me to be a jazz musician. When I was in high school, deciding what I wanted to do with my life, debating whether to pursue a career in music or not, it was this album which made me sure that music would be something that I would stick with. The moment I heard it, I couldn't stop listening to it. The sounds are hypnotic and draw me into them every time I listen to the album again.

Everything about this album is perfect. I don't think there is a jazz ensemble that can play as tightly together as the sextet on this album. The solos are exciting, driving, interesting and innovative. There are little things that the rhythm section and the horns do as backgrounds behind the soloist. The arrangements on here are great for a jazz sextet, and really gives the group a great big sound.

This album was the culmination of Coltrane's career as a saxophonist. Each musician on here is the best at what they do. This is the album which defines what post-bop really is. If you are a jazz musician, this is the standard that you should try to attain. I don't think there will ever be a saxophonist as influential as John Coltrane.

Jazz Masterpiece.......2006-01-31

I cannot agree more with these dead-on reviews, this is a masterpiece. Every song is enjoyable, though the title track is the best...Coltrane's intensity here is stunning! Of course, there's also some fine double-bowed bass on Moment's Notice, more good sax playing (Biiiiiiig surprise) from Locomotion, and a great ballad in I'm Old Fashioned. My second-favorite, though, has got to be Lazy Bird, surpisingly uptempo considering its title. (Oh well, not complaining of course). Buy this!

BLUE TRAIN: straight up.......2005-09-22

this is great album from John's musical career in the late 50's. the title cut is a classic as well as "Moment's Notice" which is one of my favorite Coltrane songs ever. love that melody.

Average customer rating:

Speak No Evil...
the Miles effect
What This Album Means To Me
Sustained Beauty
Flawless

Speak No Evil
Wayne Shorter
Manufacturer: Blue Note Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000I8UH
Release Date: 1999-03-23

Tracks:

Witch Hunt
Fee-Fi-Fo-Fum
Dance Cadaverous
Speak No Evil
Infant Eyes
Wild Flower
Dance Cadaverous (Alternate Take)

Amazon.com

Wayne Shorter's compositions helped define a new jazz style in the mid-'60s, merging some of the concentrated muscular force of hard bop with surprising intervals and often spacious melodies suspended over the beat. The result was a new kind of "cool," a mixture of restraint and freedom that created a striking contrast between Shorter's airy themes and his taut tenor solos and which invited creative play among the soloists and rhythm section. The band on this 1964 session is a quintessential Blue Note group of the period, combining Shorter's most frequent and effective collaborators. Trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter, and drummer Elvin Jones merge their talents to create music that's at once secure and free flowing, sometimes managing to suggest tension and calm at the same time. --Stuart Broomer

Album Description

24 bit digitally remastered Japanese reissue of classic Blue Note album in a miniaturized LP sleeve limited to the initial pressing only, and with the original artwork intact. Contains all six tracks from the original 1964 issue. 1999 release.

Album Details

Japanese Version Featuring A Limited Edition LP Style Slipcase. 24Bit Remastered.

Customer Reviews:

Speak No Evil..........2007-06-15

I can't anymore to what already has been said. This work
(Wayne's 3rd Blue-Note Album) is simply outstanding. It's
a complete modern jazz work. As this is my first Wayne Shorter
album, I have nothing to compare it to! So, this gives
me an excuse to purchase another disk. But, what to buy?
I know, I'll pick up the following:

1. "Night Dreamer" (Wayne's 1st Blue Note Album)
2. "JuJu" (Wayne's 2nd Blue Note Album)

Then, I can perform comparisons! Stay tuned...Oh yes, this album
rates five stars!!

the Miles effect.......2007-04-20

Along with key sidemen Freddie Hubbard (t), Herbie Hancock (p), Ron Carter (b) and Elvin Jones (d), Wayne Shorter produced this classic in 1964 and it was released that following year by Blue Note. Known for both the compositional ingenuity that went into this record as well as for the improvisational nature of the music at hand, this seminal recording has influenced countless musicians that followed. This particular reissue is part of the Rudy Van Gelder Edition series, and as such has received 24-bit digital remastering that improves upon the integrity of the sound here greatly.

This is music that followed Shorter having joined Miles Davis in the summer of 1964, and as such shows Wayne becoming more innovative and daring as a composer. I cannot recommend this album enough to everyone. If you enjoy the music of `Speak No Evil' then you will also thoroughly enjoy the albums `Juju', `Soothsayer' and `Adam's Apple'. Out of all the Wayne Shorter projects produced during his Blue Note years, `Speak No Evil' is the definitely the best place to start.

What This Album Means To Me.......2007-01-13

This dynamic quintet marks one of the peaks in jazz creation and interplay in it's musical history. With an allstar cast of Wayne Shorter, Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones, the music was destined to be nothing less than amazing from the start. But amazing players is not all it takes to make an album worth a spot on the jazz timeline. The day of recording it was obvious that everybody was on. Fueled by the lyrically sad and revolutionary compositions of Shorter, their creative drive was explosive. Being a drummer this album has taught me a huge chunk of what I know about the concepts of swing and interplay. This music has nothing to do with showing off or proving something to one's audience. The fantastic thing about Shorter is his ability to say exactly what he wants and yet the music comes across in a way that's "medicine for your ears" according to Herbie Hancock. Shorter was the only person to bring music to Miles that never had to be changed because it was perfect and this album shows exactly that; a solemn soul creating something far beyond music.
Witchhunt is a dynamic opening to the cd. The rhythmic explosion at the intro already tells the audience with in it's first few seconds of sound that the album's a classic. It's interesting to note how the intro is a great example of call and response, a somewhat foreshadowing of the interplay to come in the solos. Elvin's swing into the head is driving and powerful. All the tunes and solos on this cd are examples of Wayne's ability to use space. Witchhunt is no exception with a bouncy rhythm of 8th notes for two bars followed by space for two bars. The horns are somewhat behind the beat, defining their unique concept of swing. Wayne understood what the rhythm section was there for. It wasn't to make himself sound good, but to make the music sound good. The intense B section contrasts the mellow and bouncy A and is another great example of how Wayne incorporated call and response in ways beyond just leaving space after a phrase. The end of the B section then mellows down with some 8th note phrasing somewhat reminiscent of the A. Wayne's solo begins with an epic fill by Elvin and then the subtle interplay begins. If you're to tune out the rhythm section it almost sounds like Wayne is soloing over a ballad. His enigmatic way to keep his cool over a "medium up" song is incredible. His phrasing and style make his rests seem longer and spacier than they are which is also very masterfully accomplished by the rhythm section. They knew how to make two bars feel like an eternity, something that is hard to explain in simple music terminology. He has a subtle way of referencing the head into his solo without using it too much. Hubbard begins his solo with some high pitched dynamic phrasing. Freddie is a lot more ahead of the beat than Wayne, another interesting form of call and response that keeps your ear wanting more. Hancock's solo opens with a simple 3 note motif. His solo is not very related to the head but still is innovative and exciting, proving his inate ability to write music on the spot. Coming back into the head the drums are more intense than they were at the beginning. Freddie slips a little at the end, but is almost not even worth mentioning as the song is incredible.
Fee Fi Fo Fum opens with a syncopated and mysterious piano intro. The head itself is very spacey and mellow with the current of swing under it. One of the most amazing pieces of this album is Freddie's solo intro on this track. It's virtually indescribable along with the rest of his solo which built off his great topic sentence. The solo is fairly short, but still says so much. Shorter's solo is very behind the beat and very rarely has anything faster than quarter notes. Later in his solo he busts out some lines that are almost straight. These lead into some very bluesy licks and his climax into Herbie's solo. Herbie's solo plays off Wayne's blues motifs and incorporates his own style until he builds tension with a triplet line back into the head. The first note of the head is played in such a way that it seems like they used some kind of effect, but it's all simply in how well they played it. The ending is predictable and releaving.
Dance Cadaverous is a somewhat "up" waltz, but is more like a mysterious and haunting lullaby. The piano comping over the head is another one of my favorite parts of this cd. It's this amazingly awkward and muddy feeling that if heard by itself would simply be weird, but Herbie knew how to use his out of the box mind to add the spice to Shorter's music. The piano solo begins behind the beat and very beautiful. Herbie rapidly builds tension and releases it into a flurry of notes leading into the downbeat. The energy subtly increases into Shorter's solo in which he seems like he's grasping onto something. Shorter's uncanny ability to use his life experience to bring out the human and raw emotion in something as obscure as a complex waltz is truly stunning. His solo then builds back into the mysterious head where Herbie's comping is again exactly what the composition needed. The strong ending is great and a perfect end to a perfect song.
Speak No Evil, the title track, is a "medium up" swing song with such subtle things done during the head that it's hard to notice. The head itself is a simple 5 note motif that leads into the downbeat from the and of 3. The B section is a quick and large amount of tension that is quickly released. The solos are all over only the A section which makes it very cohesive and swingin'. Shorter's solo is my favorite on this cd. This is the only time he's on top of the beat in any way. This song has some of the most intense interplay i've heard in all my listening experience. Wayne's climax is practically orgasmic and after it happens you can hear one of the musicians say "yea," which is said in the best way possible. The crescendo into Hubbard's solo is strong and then mellows down to be built back up over the intense swing. Freddie has no problem consistently hitting notes that tug at the soul and uses them as a common tension builder throughout the cd. Hancock is also fairly on top of the beat but still maintains a very relaxed feel. He then busts into one of his polyrhythmic tension builders and leads back into the spacey head. The crescendos are so well done between Shorter and Hubbard that it's hard to tell that there are 2 horns. It ends with a fadeout which is appropriate even though I'm not ussually one for fadeouts.
Infant Eyes is the ballad of this cd. Shorter's intro is incredibly soulful and his sense of rubato glides the peace as opposed to making it feel like chunking quarter notes which can get very repetitive in ballads. This song is a perfect example of Wayne Shorter feeding off his painful life experiences to create something wonderful. "Bring It On" Shorter says when discussing life tragedies, "because I want to reep the benefits." With the loss of his wife, parents, and daughter, Wayne Shorter has embraced solitude and used it to breathe tragedy into his horn. This song has a level of authenticity that is far beyond chops, pitch, rhythm, but is simply directly about soul. He references the head in his solo and the discussion between the sax and the piano turn this from a ballad into a beautifully depressing conversation. The ending is very mysterious and poignant.
Wildflower is the final song of this cd with the exception of the alternate take of Dance Cadaverous. Though this song is an "up" waltz it really feels like a lullaby. I commonly find myself humming it while I'm walking around. Shorter begins his solo by quoting the head. He still uses his ability to stay behind the beat to show
the contrast he has with the rhythm section. Freddie's solo also quotes the head and uses his high pitch on ability to stay on top of the beat to portray his message. Hancock uses polyrhythms to lead into realeases on the downbeat, starting his phrases halfway through the measures. He and Elvin synch up on a dotted half note rhythm back into the head. The A section is soft and serene while the B section builds the tension into the ending.
This cd gave me so many new concepts as a musician, but as a listener too. This was one of the first jazz albums I really got into and it was a gateway drug of sorts because it really opened my mind to this world I had never explored. Shorter still remains one of my all time favorite musicians and composers. There's something about his playing that's not just wonderful. It's not just lyrical. It really tugs at your heart in an indescribable way. He understands that music isn't just music. That a rhythm isn't just a rhythm and a note isn't just a note. If you ever find yourself wondering why all the soul in music is gone these days it's because most of it's gone to Wayne. He has no intentions of quitting and neither does my ear, cuz it needs it's daily dose of the Shorter.

Sustained Beauty.......2006-08-25

In the early to mid-sixties, Wayne Shorter, both before and during his tenure with Miles Davis, created some of the most indelible compositions in the jazz lexicon. The genius of the composer, who created "Speak No Evil" "Night Dreamer," "Juju," and "Adam's Apple," all recorded during this time,is beyond description. Using many of the same personnel (usually Herbie Hancock in the piano chair, who was also central to the harmonic voicings of the ensemble playing-Reggie Workman or Ron Carter on bass, Elvin Jones or Joe Chambers on drums, Freddie Hubbard or Lee Morgan on trumpet) probably accounts for the "unity" of sound on these albums, but even more central are the songs written by Wayne Shorter-"Infant Eyes" from Speak No Evil," "Footprints" from "Adam's Apple," "House of Jade" from "Juju," the title track from "Night Dreamer" or "Oriental Folk Song" just for starters.

As another writer mentioned, this is "cool jazz," but much different form what came to be known as "West Coast cool." The tunes unfurl at an even pace, and the beauty of the music is such that it sometimes seems to stop momentarily, just so the beauty could be sustained a little longer. These are the records that (no disrespect to Coltrane, Hawkins, Webster, or any of the great tenor players) cement Wayne Shorter as my favorite tenor player, and one of the greatest musicians of the 20th (and now 21st) century.

Obviously, anyone who likes "Speak No Evil" should check out "Adam's Apple," "Juju," "Night Dreamer," or Miles" "Nefertiti," to which Shorter contributes another classic composition in the same vein as the others, "Fall."

Flawless.......2006-04-11

Exploiting simple melodies to gorgeous effect and engaging in brilliant harmonic interplay with trumpeter Freddie Hubbard, Wayne Shorter crafted one classic LP after another on Blue Note in 1964, culminating in this Christmas Eve set, easily his strongest, with "JuJu" a close second. Every composition here shows tremendous growth and while the pieces are shorter than some of the more explorative works he would undertake later in the 70's with keyboardist Joe Zawinul (somebody please release "Odyssey Of Iska" on CD!!!!) the overall feel of this work is easy flowing and expansive, relaxed but not languid or slow and sprawling but not too drawn out. The 8 minute title cut is a standout for it's unforgettable melody and stellar soloing by all members of the quintet. Both mellow and lively, this entire set is essential for any fan of "real" jazz. Perfect.

Average customer rating:

GREAT, GREAT
The Sweetest Sax this Side of Heaven
Junior Walker & the All-Stars
Great Trumpet
Consensual Sax

The Ultimate Collection
Junior Walker & the All-Stars
Manufacturer: Motown
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001AO1
Release Date: 1997-10-07

Tracks:

Shotgun
Shake And Fingerpop
How Sweet It Is (To Be Loved By You)
Cleo's Mood
Shoot Your Shot
(I'm A) Road Runner
Pucker Up Buttercup
Do The Boomerang
Tune Up
Money (That's What I Want)
Come See About Me
Sweet Soul
Cleo's Back
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Hip City - Pt. ll
Home Cookin'
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What Does It Take (To Win Your Love)
These Eyes
Gotta Hold On To This Feeling
Do You See My Love (For You Growing)
Take Me Girl, I'm Ready
Way Back Home
Walk In The Night
Last Call

Amazon.com

Saxophonist Jr. Walker was the most gutbucket of Motown's consistent '60s hit makers. Even when trying his hardest to conform to label formulas ("What Does It Take [To Win Your Love]," "Gotta Hold On to This Feeling"), he sounded like he'd be just as much at home in the backroom of a barbecue joint. When pursuing his muse in even more minimalist form ("Shotgun," "[I'm a] Road Runner," the smoky "Cleo's Mood"), he sounded like the owner of the place. --Rickey Wright

Customer Reviews:

GREAT, GREAT.......2007-06-08

I one of people who do not have much liking for much of the music of today, I guess you can say I'm into the what they call 'Old School' style
of music.
This CD by Jr. Walker & the All-Stars has so much 'Soul' that it brings back that spirit when artist could sing and they were able to carry
a message in their songs where it made you feel good a time when artist could play instruments. To understand what I'm trying to say go to number 23 on this CD 'Way back home' I don't have
to say much more. If this CD do not move you then you don't have SOUL.

The Sweetest Sax this Side of Heaven.......2007-02-03

Nobody, I mean nobody, played saxophone like Junior Walker. When he passed away several years ago, the world of Rock and Soul suffered a major loss. This collection provides a rich history of Junior and his legacy as an artist. I challenge anyone to listen to songs like "Home Cookin", the seminal "Shotgun", "How Sweet it Is", and numerous others, and see if you can sit still. I guarantee you'll be moving to the music! But Junior's sax can evoke other moods as well. On "What Does It Take", (a major hit in 1969, and one of my all-time favorite songs), you can feel the despair and desperation in his voice and sax. He also reaches the heighths of happiness and exuberance on songs such as: "Gotta Hold On To This Feeling", "Take Me Girl I'm Ready", and "Do You See My Love".

I was privileged to see Junior Walker and the All Stars live in concert twice. This CD stimulates warm memories for me, and every song is a winner. Junior, I miss you, man.

Junior Walker & the All-Stars.......2007-01-10

This C. D. is just what I was looking for, to copy some sounds on the sax....J. W. was really ahead of his time ...

Great Trumpet.......2007-01-10

This product is recommended for true lovers of great music. I hope other albums by the same artist could be made available.

Consensual Sax.......2006-11-05

Junior Walker wrote the book on soul, R&B, and funk sax, nobody has touched him since. His singing was not flashy, but it was strong, and he succeeded by staying within his comfort zone.

Even as a kid plugged into Motown I noticed that Jr. Walker & The All Stars stood apart. For one thing, the sax was up front, ahead of the vocals. More than that though, JW&TAS had an earthy, funky groove that was raw, authentic, and infectious. While the other Motown acts were going for smooth, Walker went for the down-home, house party foot stomp.

What I didn't know then was that the folks at Motown had made a conscious decision to step back and let Junior do his thing. The times they did decide to run him through the Motown mill produced his most forgettable efforts, (How Sweet It Is, Come See About Me, What Does It Take, and These Eyes.)

Songs like Shotgun, Shake And Fingerpop, I'm A Road Runner, and Pucker Up Buttercup caused uptight, suburban teenagers to leap out of their seats and be transformed by the sheer joy of line dancing. Walker's music felt good all the way down to the shoes.

No discussion of Junior Walker is complete without mentioning Cleo's Mood, arguably the sexiest, sultriest song ever recorded by anyone. He stretches the groove out in Cleo's Back, and shows it off again in the outrageously slinky Satan's Blues. Sweet!

Many obscure gems on this anthology. Tune Up is the perfect throwdown track while Twist Lackawanna is so hot it could only have been played before an intermission. Hip City, though not obscure, is wonderful to hear again. Folks, if it gets any better than this - nobody told me.

Average customer rating:

Requested CD
What you see is what you get
Pretty good
Lounge Sax!
For Sax Lovers

Yakety Sax! (Sony)
Boots Randolph
Manufacturer: Sony Cmg Mkt Group
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000026LJ
Release Date: 1990-10-25

Tracks:

Yakety Sax
Walk Right In
If You've Got the Money (I've Got the Time)
Cotton Fields
Charlie Brown
Cracklin' Sax
Smoke Gets In Your Eyes
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Lonely Street
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I Really Don't Want to Know

Customer Reviews:

Requested CD.......2007-01-10

This CD was on a Christmas list for a family member, he said he truly enjoyed it. And it was so easy to find on Amazon.

What you see is what you get.......2006-11-15

Nice cd with some of the best of Boots. If you're a cw fan, you'll probably like it even more since several cuts are definitely cw.

Pretty good.......2006-07-17

It has the music the vynyl had although my memory has more depth of sound in the vynyl. I'd rather have it than not.

Lounge Sax!.......2004-11-23

Boy this CD brings back memories as it was one of my Mom's faves when growing up. Now that I'm an adult, I can appreciate it as great Lounge Music. It's kinda corny, nostalgic and fun. If this was repackaged as Lounge Music by Sony I think Boots would find a whole new and younger generation of listeners.

For Sax Lovers.......2004-01-25

If you're a sax lover, you probably want this album. I wanted a couple of songs from it, and ended up enjoying just that. An entire album of sax is a bit trying--at least for me. I really appreciate the up-tempo wailing songs, but the slower songs just reminded me that I was listening to a saxophone, which at times sounded too alone.

Average customer rating:

Nice change
Kenny G- Duets
Kenny G is a horrible saxophonist
Very nice! My favorite CD of his yet....
It is OK ! Next time,team up with Anita Baker and Regina Belle !

At Last...The Duets Album
Kenny G
Manufacturer: Arista
ProductGroup: Music
Binding: Audio CD

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ASIN: B00064K2RQ
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XThe Music That Makes Me Dance- featuring Barbra Streisand

Amazon.com

The genius of At Last...The Duets Album is in its matchups and cross-pollinations. If producer Walter Afanasieff weren't already a much sought after music man--check out his arrangements here if his talents are unfamiliar--he might have built a brilliant career as a modern-day cupid. These are covers with a what-if factor (what if Brian McKnight covers Wham!? What if Richard Marx covered Elton John?) you don't want to miss: LeAnn Rimes wraps Bryan Adams' anthem-y "(Everything I Do) I Do It for You" in rainy-day heartache; Yolanda Adams reaches for the stars in a rendition of R. Kelly's "I Believe I Can Fly" as inspiring as the original; Barbra Streisand waltzes through "The Music That Makes Me Dance" like the years since her heyday haven't mattered; and Earth, Wind & Fire dig the depth out of Raphael Saadiq's "The Way You Move." This, of course, is to say nothing of the sensuality brought to these collaborations by the goldilocked sax man himself. As with all Kenny G projects, the music is smoother than a frappuccino and oddly suited to a soap opera living room set; its swirls, swells, and crescendos seem meant to fall on bejeweled ears in pretty, carefully appointed spaces only. All-instrumental tracks like "Don't Know Why" with David Benoit and "Pick Up the Pieces" with David Sanborn have a fun look-at-me-sharing-the-spotlight quality, but in the end Chaka Khan puts across her point most convincingly: She, not Christina Aguilera, should have sung "Beautiful" to begin with. -Tammy La Gorce

Customer Reviews:

Nice change.......2006-12-13

You know it's sad when someone has to put down another person just to make them feel bigger. I found this album was a fresh change to doing cover songs - face it, everyone in the industry is doing covers, but I really liked the different feel to them. There are some not so great Duet albums out there, unfortunately I have even bought a few, but I feel this one is a good buy...

Kenny G- Duets.......2006-11-10

Kenny G is excellent in this duets CD. Him along with other greats make for very enjoyable listening.

Kenny G is a horrible saxophonist.......2006-08-14

Please noone buy this cd. It is a waste of your time, and the fact that so many people buy this cd goes along with how humans are getting more idiotic as we destroy the planet and continue to rise conflicts in other countries that could amount to a bigger picture. Kenny G is a horrible saxophonist, and all he plays are simplistic lines that people can wrap their heads around easily. If you want to listen to a great saxophonist, listen to Kenny Garret. Or Cannonball Adderly, John Coltrane, Joshua Redman, Wayne Shorter. If you like smooth jazz, Gerald Albright is an excellent saxophonist to listen to.

Very nice! My favorite CD of his yet...........2006-06-17

I always find it humerous that far less accomplished "musicians" will blast Kenny's success all over the place, and basically rate him with the likes of a middle school wannabe. Bottom line - he is successful, he caters to the "average" listener without the ear fatigue that normally accompanies heavy jazz, he is respected among his peers in the business (as evidenced by his duets), and he repeats what works for his success. To trash his talent and success is to also trash the notable musicians and singers who obviously respect him enough to record with him on this CD. He's made millions, so there is an enormous fan base out there that doesn't care much for the jealous comments by aspiring performers. My advice is to judge for yourself!

If you appreciate great musicians coming together to produce some really listenable music, (and I do mean, over and over without ear fatigue), then this CD is for you! I only hope he doesn't stop here. I hope he comes out with more duet albums in the future. Maybe some Chicago, Rascal Flatts, Peter Cetera, Tower of Power, and any number of other great voices in the business!

My favorite is the remix of "The Way You Move"...nice grooves in there! If I had one complaint, it would be that the songs didn't actually line up in the order on which they were listed on the CD cover. Other than that, it's at the top of my favorites in my library of 3,000+ CDs!

It is OK ! Next time,team up with Anita Baker and Regina Belle !.......2006-05-28

Most of the tracks lack emotion and inspiration.
Try next time,with less hype and more substance.

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