dimanche 29 septembre 2024
Urban Knights & Ramsey Lewis - VII / 2019
On the heels of announcing his retirement in 2018, the then-83-year-old Ramsey Lewis entered the studio with his longtime crossover funk outfit Urban Knights to record 2019's earthy and stylistically expansive VII. A group originally conceived in the early '90s in the vein of such iconic ensembles as Donald Byrd's Blackbyrds and Joe Sample's Jazz Crusaders, Urban Knights found Lewis collaborating with a bevy of younger musicians and star guests over the years, and VII continues this fruitful tradition. Joining Lewis here is a newly convened Urban Knights ensemble featuring a lineup of noted Chicago-area performers including keyboardist Tim Grant, guitarist Henry Johnson, bassist Joshua Ramos, and drummer Charles Heath. Together they play a vibrant blend of soul-jazz that evokes Lewis' classic '70s and '80s albums like 1974's Sun Goddess, 1977's Love Notes, and 1981's Three Piece Suite. In fact, on VII, Lewis revisits a handful of his past tracks including the disco-era title track to his 1977 album "Tequila Mockingbird," "Baby What You Want Me To Do" off 1981's Live at the Savoy, and "Sharing Her Journey" off 2009's Songs from the Heart: Ramsey Plays Ramsey. He achieves yet more old-school flavor elsewhere reworking Sting's "Shape of My Heart" with vocalist Dee Alexander, and offering a burnished, loungey reading of the Beatles' "And I Love Her." Also evocative is "The Rose," a laid-back and soulful groover featuring trumpeter Maurice Brown. There are two superb solo numbers from Lewis in "Dear Lord" and "Trees," both of which spotlight his elegant, deeply lyrical piano artistry. While it may come in the wake of Lewis entering the final years of his career, VII sparks with the energy and vitality of an artist at the peak of his abilities.
Ramsey Lewis - Taking Another Look 2011
Pianist and contemporary jazz icon Ramsey Lewis revisits his classic 1974 electric jazz-funk album Sun Goddess for 2011's Ramsey, Taking Another Look. Featuring a newly minted lineup of his '70s electric band, Taking Another Look features keyboardist Mike Logan, guitarist Henry Johnson, bassist Joshua Ramos, and drummer Charles Heath, all of whom reveal a knack for the funky, soulful jazz Lewis is reinvestigating here. Included are reworkings such classic '70s tracks as "Tambura," "Love Song," and "Jungle Strut." These are dance-oriented jazz-funk cuts with an organic, groove-oriented vibe that stick closely to the original '70s conception. In fact, the original version of Lewis' hit "Sun Goddess" is included and rounds out the album nicely. Which isn't to say that this is solely a retro-leaning venture. On the contrary, as with the rest of the album, tracks such as the dramatic, midtempo funk number "To Know Her" and the lush ballad "Sharing Her Journey" are expertly produced contemporary jazz numbers.
Ramsey Lewis - With One Voice 2005
Jazz pianist Ramsey Lewis returns to his gospel roots on With One Voice. Featuring the Sanctuary Choir of J.W. James Memorial A.M.E. Church, where Lewis' sister is Reverend, the album finds the pianist performing live with his small group alongside the traditional gospel choir. The result is a celebratory mix of gospel standards including "Oh Happy Day" and "Pass Me Not" as well as some original compositions by Lewis that mix his distinctive funky style with a gospel aesthetic. This is a joyous album that was clearly born out of spiritual inspiration.
Ramsey Lewis - Songs From The Heart: Ramsey Plays Ramsey 2009
Ramsey Lewis is not only thriving in his golden years, but continues to refine his approach within the tried-and-true piano-bass-drums trio format. Alongside his longtime bandmates featuring the very talented bassist Larry Gray and drummer Leon Joyce, Lewis has chosen to present an all-original program inspired by his collaborative concert stage work with the Joffrey Ballet Company, or the Turtle Island String Quartet. With elegance, panache, and a little bit of soul, Lewis and his group breeze through these selections, and while the pianist has his own approach to shadings and lyricism, there's no doubt he is also reflecting the muse and sage wisdom of another great jazz player who made his mark in Chicago, Ahmad Jamal. Lewis crafts lovely themes shaded in little or no drama via the light bossa nova dance traipse of "Touching, Feeling, Knowing," the easygoing contemporary funk of "The Spark," or the tango, soul-jazz inflected "The Way She Smiles." Not all laid-back, the trio is led by the irrepressible Gray, who pushes through "Exhilaration" all the way through, runs through an ostinato bassline on the driving, Brazilian, Jamal-styled beats of "Rendezvous," and uses a bouncy, hip, 6/8 mode for the classy, bouncy "To Know Her Is to Love Her," accented by the chiming piano of Lewis. While the backbone of these recordings is the sophistication of the piano player in the ensemble tracks, there are four solo pieces that further illuminate this grand dame concerto concept. "Clouds in Reverie" perfectly reflects its title, "Conversation" is an elegiac, epic, musical love tale in the class of "Exodus" or "Spartacus," "The Glow of Her Charm" reflects delicacy but merges into some forceful moments, while "Watercolors" uses up-and-down dynamics, not normally the strong suit of the pianist. Of the many watered-down commercial efforts and overproduced music Ramsey Lewis has offered on big commercial labels, this one could easily be his most accessible to a legitimate jazz audience. It certainly is his very best recording in the last two decades of his star-studded career, and can certainly be recommended to all lovers, dreamers, and mainstream jazz listeners in general.
Urban Knights - Urban Knights VI / 2005
Urban Knights VI is the sixth album of the jazz group Urban Knights, released in 2005 by Narada Records.[3] The album rose to No. 7 on the Billboard Jazz Albums chart.
For their sixth recording, Urban Knights utilizes a core quintet comprised of keyboardist Kevin Randolph, veteran guitarist Bobby Broom, Nick Bisesi on tenor and soprano, electric bassist Maurice Fitzgerald and drummer Quinjuan Anderson. Although Urban Knights has never really had its own distinctive sound, it creates pleasing music that is danceable, funky, soulful and safe. Along with the group originals, Urban Knights romps happily on Stanley Clarke's "School Days" and Ramsey Lewis' "Close Your Eyes And Remember." The latter has a guest appearance by one of the group's original members, pianist Ramsey Lewis. The music overall has a light (some one would say lightweight) feel and should appeal to a large audience. Just do not expect originality, risks or any chances to be taken, for Urban Knights sticks closely to their chosen format/formula.
Ramsey Lewis - Time Flies 2004
The fourth album on Narada Jazz from Ramsey Lewis, Time Flies is in effect a contemporary redo of his career. The themes that have been important in his music over the decades are each given some room (thus, there are classical, gospel, R&B, and straightforward jazz pieces here). At the same time, older songs are reworked with aspects of contemporary styles. Finally, the third dimension of changes here is the span of old Lewis classics, covers of other artists, and a few new items penned specifically for Time Flies. The album opens with a bit of Brahms, which subtly morphs along the way into some smooth jazz reminiscent of a Bobby McFerrin composition in some ways. Similarly, a bit of Bach makes its way into straight jazz piano and perhaps a bit of a bossa nova later in the album. "Second Thoughts" is a new number, taking cues (perhaps coincidentally) from Piazzolla's tango aesthetic. The classic "Wade in the Water" is given a reworking in rhythm (courtesy of Ramsey's son Frayne), as is "The In Crowd," which gets a jumping round of percussion and clapping that could almost pass as "Got to Give It Up" to a casual bypasser. "Open My Heart" and "Hosanna" let Lewis go somewhat easier on the piano as he complements the gospel numbers with a grand dose of choir singers. Moving back to straightforward jazz piano, listeners get treats in the originals "Hide & Seek" and "Last Dance," both of which showcase his still-present chops in fine light. There's a little something for everyone on this album, making a fine stand at covering the multitude of styles and moods covered by Lewis over the past four decades or so. Fans of Lewis should pick it up as something other than a standard greatest-hits album, and newcomers to his sound may find it a worthwhile single-disc introduction to the variety encompassed by his catalog.
Ramsey Lewis - Simple Pleasures (with Nancy Wilson) 2003
Longtime fans of these two jazz legends may know that they met originally in the early '60s as clients of the same manager; and recorded their first duet album in 1984, Two of Us, which was produced by Stanley Clarke. Based on the wonderful piano-vocal rapport (with brilliant horn arrangements courtesy of Llew Matthews) on this disc and 2002's Meant To Be, it's a good thing that Ramsey Lewis and Nancy Wilson caught up with each other in 2001, when Wilson played the Ravinia Festival (Lewis serves as Artistic Director). Simple Pleasures features both vocals and instrumentals with a wide range of dynamics, from his romantic but too subtle piano melody on "In My Life," to Wilson's fiery belting over a sea of snazzy horns on "Give Me Something Real." It's great to hear her let loose, but the slower, sensual side of her vocal prowess (on tunes like "Lost Up in Loving You") is even more inviting. They choose their material wisely, from the hip classic pop of Debarge's "All This Love" to "God Bless The Child," which they do in a late night, torchy style. The best of the five, Lewis' only performance is the swinging trio rendition of the R&B classic "Ooh Child," which takes the original melody in fast and furious directions. Let's hope the conversation between them continues indefinitely.
Urban Knights - Urban Knights V / 2003
Urban Knights V is the sixth album of the jazz group Urban Knights released in 2003 on Narada Records.[3] The album rose to No. 15 on the Billboard Jazz Albums chart.
The is the fifth album from the rotating smooth jazz all-star showcase Urban Knights, and it continues with much the same flavor as the group's previous releases: a mix of post-bop jazz influences and straightforward R&B. The album opens with an instrumental version of Marvin Gaye's "Got to Give It Up" featuring bandleader Ramsey Lewis covering the main vocal parts with his piano. Two collective originals follow, leading into Michelle Williams' soft vocals on "Will You Still Love Me?" "On the Up" is an original with a thick electronic funk thanks largely to Kenny Garrett. Another group original follows in the same vein, although the collective takes on Johnny Nash's "I Can See Clearly Now" yield mixed results, holding Steve Zoloto's sax over the top of a groove. Some contemporary R&B pokes through on "No One," and Orbert Davis invokes a bit of Miles Davis on his trumpet over the funk of "The New Funktier." After another short R&B romp, the album finishes on a pair of Hans Zimmer numbers from the Gladiator soundtrack. As far as smooth jazz goes, this is an outstanding collection from the all-stars of the genre, complete with some thoroughly worked-out funkiness at the hands of Lewis as the need arises. For the mix of originals and covers, the album, overall, does quite well. Both newcomers to the genre or old Ramsey Lewis fans should give it a listen .
Ramsey Lewis & Nancy Wilson - Meant To Be 2002
Ramsey Lewis and Nancy Wilson's 1984 project, The Two of Us, featured synth pop, smooth jazz, and disco-lite covers of tunes such as Paul McCartney's "Ram." While it was a solid attempt at mid-'80s mainstream pop radio airplay, it had little to do aesthetically with the jazz heritage that Lewis and Wilson built their careers on. Fast-forward to 2002 and you find the duo teaming up again on Meant to Be, an album of straight-ahead acoustic jazz. Some fans of The Two of Us may be a little disappointed with the classicist nature of the project, but anyone who's enjoyed the varied work of these two legends should revel in the lush sound they've achieved. Both Lewis and Wilson's careers have been marked by their ability to bring jazz to a wider audience by focusing on the melodic elements innate to well-composed songs. Here, they apply this to such jazz-friendly tunes like Van Morrison's "Moondance" and Blossom Dearie's "Peel Me a Grape." But it is the oft-overlooked jazz standard "Did I Ever Really Live" that defines the slightly melancholy tone of the album. Meant to have been recorded on September 11, 2001, the session was postponed for obvious reasons and when the musicians finally made it into the studio, the song's lyrics had taken on a more sanguine, heartbreaking meaning. Both Lewis and Wilson have aged well, with their abilities growing stronger and more assured. Wilson's voice is still as gorgeous and bell-tone pretty as ever, but reveals just the hint of a throaty fuzz that only deepens the beauty of her delivery. Lewis also fares well, filling out the tracks with his mature piano playing and compositions that reflect the best of his mid-'60s work.
Urban Knights - Urban Knights IV / 2001
Urban Knights - Urban Knights III / 2000
Most artists' idea of giving back to their communities involves some sort of charitable work or financial contribution. On Urban Knights III, legendary pianist Ramsey Lewis reaches deeper, forgoing the the all-star jam concepts of the first two Urban Knights projects (which featured everyone from the late Grover Washington, Jr. to producer Maurice White), and cultivating some of Chicago's most deserving local R&B and jazz talents. Most of the featured players have deals with Lewis' Ivory Pyramid Productions. These core band members consist of keyboardist Kevin Randolph, bassist Sharay Reed, drummer Calvin Rogers, and percussionist Alejo Poveda, as well as the all-female vocal group the Staples (cousins of the famed Staple Singers) and vocalists Tammi and Hardeman. Despite his attempts at being just a supporting member of the band, Lewis can't help but stand out with his glittery, high-register glissandos on the moody "Until We Meet Again" and his crisp ivory improvisations off the kindly melody of "You're the One for Me." Just when you think he's settling in for too many pleasantries, he starts jamming with his able charges on the retro-minded, percussion-aggressive "Far and Away" (with Lewis banging away on electric piano) and on the autobiographical, throbbing bass-driven "Sweet Home Chicago." "Strung Out" isn't the most original R&B ballad in the world, but Lewis makes a great discovery in the towering vocalist Hardeman. With such great young players, one wonders why Lewis couldn't resist the commercial potential of having Dave Koz simmer on "Dancing Angels" and having Earl Klugh and Fareed Haque engage in the playful, steel string-classical guitar duel "Gypsy." Great tunes, but they're bound to take the focus off the kids.
Ramsey Lewis - Appassionata 1999
Appassionata is an album by American jazz musician Ramsey Lewis, released in 1999 on Narada Records.[1] The album peaked at No. 23 on the Billboard Top Jazz Albums chart.
Ramsey Lewis - Dance Of The Soul 1998
One of his more memorable GRP dates of the 1990s, Dance of the Soul finds Ramsey Lewis playing mostly acoustic piano on a variety of material. The CD's main focus is accessible, yet creative, jazz-pop, though Lewis detours into gospel on "Mercy and Grace," classical on the acoustic solo piano piece "Cante Hondo (Deep Song)," and jazzy R&B on a remake of Teena Marie's 1981 gem "Portuguese Love" (which features the big-voiced singer Donica Henderson). The Chicagoan has some nice solos on melodic instrumentals like "Sub Dude," "Cancion," and the Joe Sample-ish "Love's Serenade," all of which demonstrate that commercial jazz-pop can be creative as well as highly accessible. In fact, these are the sorts of instrumentals one should use to turn pop and R&B fans on to jazz -- they're easy to absorb, but have a lot more substance than the type of mindless "elevator Muzak" that many pop instrumentalists favored in the 1990s. Although not a masterpiece, Dance of the Soul is a decent effort that has more ups than downs.
Urban Knights - Urban Knights II / 1997
Urban Knights II is an album by the Urban Knights which was issued in 1997 on GRP Records. The album reached No. 5 on the Billboard Top Contemporary Jazz Albums Chart.
It's ironic that on Ramsey Lewis' Urban Knights II (GRP), the one holdover from the first Knights project is only featured half the time. Needless to say, that's the more riveting, jazzier half of this Maurice White-produced exercise in easy funk and potent, machine generated urban grooves. Lewis' slowly simmering, coolly rhythmic piano jaunts add flair to middle of the road silky pieces like "The Promise," but are best enjoyed on the two playful solo interludes which create an organic contrast to the slicker fare they complement. The pianist also adds an avant-garde edge to the heavily soundscaped "Brazilian Rain." Aside from Lewis, this all-star affair features some spirited gospel keyboard and vocal flavors surrounding Najee's soprano sax and flute, as well as a "South African Jam" celebration hosted by Jonathan Butler's happy vocals and guitar. While a positive effort overall, for the inevitable Urban Knights III, White would benefit from ditching the machinery and letting his stars jam more spontaneously.
Ramsey Lewis - Between The Keys 1996
Although Ramsey Lewis gained his initial fame as a jazz pianist, many of his records (including this one) are really more in the R&B field. The soul vocals, acid jazz rhythms and tinkling piano result in superior background music and there are some good moments (such as Grover Washington, Jr.'s soprano on "Sun Goddess 2000") but Ramsey Lewis is capable of much better. A strictly commercial effort that succeeds more as dance music than as creative jazz.
Urban Knights - Urban Knights I / 1995
Urban Knights I is the debut album of the jazz group Urban Knights released in 1995 by GRP Records.[7] The album reached No. 5 on the Billboard Jazz Albums chart.
Urban Knights 1 was produced by Maurice White. Artists such as The Emotions, Freddie Hubbard, Grover Washington Jr. and Omar Hakim appeared on the album. Urban Knights I also features a cover of Earth, Wind & Fire's 1981 single "Wanna Be with You".
When Maurice White produced the Urban Knights' self-titled debut album in 1994, some people were surprised to see Earth, Wind & Fire's leader/founder producing an album of mostly instrumental jazz-funk and pop-jazz. But for those who knew something about White's pre-EWF history, it wasn't all that surprising -- White had a jazz background, and he played drums in the Ramsey Lewis Trio before forming EWF's original pre-Philip Bailey lineup in 1970. Lewis, in fact, is among the participants on this CD by the Urban Knights, whose first lineup consists of Lewis on piano, Grover Washington, Jr. on tenor and soprano sax, Victor Bailey on electric bass, and Omar Hakim on drums. With such an all-star lineup, this album should have been exceptional -- it isn't, although Urban Knights offers a generally pleasant, if inconsistent and unremarkable, mixture of jazz, R&B, and pop. There are moments of interest; the CD's more noteworthy tracks include Lewis' Brazilian-influenced "Urban Samba," Hakim's dreamy "Hearts of Longing," and White's funky "On the Radio." But when Earth, Wind & Fire's leader/founder is the producer and musicians like Lewis and Washington are on board, you expect an album that is more than just pleasant -- you expect a masterpiece. And while Urban Knights isn't bad, it doesn't live up to its enormous potential.
An all-star collective featuring pianist Ramsey Lewis, Urban Knights make funky crossover jazz in the spirit of Lewis' '70s and '80s albums, as well as the work of band's like the Blackbyrds and the Jazz Crusaders. With Lewis at the group's core, Urban Knights have issued a bevy of Top 20 Billboard jazz albums including 1995's Urban Knights I, 2001's Urban Knights IV, and 2005's Urban Knights V.
Formed in 1995, Urban Knights was initially conceived as a showcase for Lewis and a rotating cast of guest artists. The group's debut album, Urban Knights I, arrived that same year on GRP and featured production by Earth, Wind & Fire's Maurice White. Joining Lewis were a bevy of name performers including Grover Washington, Jr., Omar Hakim, Freddie Hubbard, and others. The album reached number five on the Billboard Jazz Albums chart. Urban Knights II followed two years later and again found Lewis working with producer White. Also coming on board was the pianist's son, keyboardist Frayne Lewis. The album reached number seven on the jazz chart and featured guest appearances by Gerald Albright, Najee, Jonathan Butler, and more.
For 2000's Urban Knights III, Lewis moved the group to Narada Records and enlisted a handful of Chicago-area pros including son Frayne Lewis, keyboardist Kevin Randolph, bassist Sharay Reed, drummer Calvin Rogers, and percussionist Alejo Poveda. Also featured are the all-female vocal group the Staples (cousins of the famed Staple Singers), saxophonist Dave Koz, and guitarists Earl Klugh and Fareed Haque. The album peaked at number four on the jazz charts. A year later, Lewis and the group returned with Urban Knights IV. Joining the ensemble was one-time Donald Byrd protégé trumpeter Ron Haynes, as well as guest performer guitarist Norman Brown. Showcasing a funky sound reminiscent of Donald Byrd's Blackbyrds group, the album peaked at number two on the Billboard Jazz Albums chart.
With 2002's The Chicago Project, Lewis stepped back from Urban Knights and handed leadership over to his son, keyboardist/producer Frayne Lewis. Also included in the lineup were returning members trumpeter Haynes, bassist Reed, guitarist Haque, and keyboardist Randolph. The elder Lewis returned the following year for Urban Knights V, which featured appearances by saxophonist Kenny Garrett, vocalist Michelle Williams, and trumpeter Orbert Davis. Lewis was again on board for 2005's Urban Knights VI, executive producing and performing on several tracks with keyboardist Randolph, noted Chicago guitarist Bobby Broom, bassist Maurice Fitzgerald, drummer Quinjuan Anderson, and saxophonist Nick Bisesi. The album peaked at number six on the Billboard jazz chart. Following an extended period away from the group, Lewis put together another Urban Knights lineup for 2019's Urban Knights VII, bringing on board guitarist Henry Johnson, keyboardist Tim Gant, bassist Joshua Ramos, and drummer Charles Heath. Also included were vocalist Dee Alexander and trumpeter Maurice Brown. Along with original songs, the album featured reworkings of classic songs by John Coltrane, Chick Corea, and the Beatles.
Ramsey Lewis - Sky Islands 1993
Sky Islands is a jazz album by American jazz musician Ramsey Lewis, released in October 1993 on GRP Records. The album rose to No. 6 on the Billboard Top Jazz Albums chart.
Ramsey Lewis - Ivory Pyramid 1992
Ivory Pyramid is a studio album by American jazz pianist Ramsey Lewis, released in 1992 on GRP Records.[1] It peaked at #7 on the Billboard Contemporary Jazz Albums chart.
Ramsey Lewis & Billy Taylor - We Meet Again 1989
We Meet Again is a jazz album by American jazz pianist Ramsey Lewis and Billy Taylor, released in 1989.[4][5] Lewis and Taylor duet on songs composed by Taylor, Duke Ellington, Chick Corea, Oscar Peterson, Bill Evans, and Horace Silver, among others.
Ramsey Lewis – Classic Encounter 1988
No stranger to the world of the symphony -- having studied classical music from a very early age -- Lewis fuses himself and his trio to the suave, plush forces of London's Philharmonia Orchestra, producing results that can be described as "to the manor born." Lewis' elegant soul stylings and classical arpeggios dovetail right into James Mack's full-scale symphonic arrangements, recorded at Abbey Road Studios in a lavish yet subtle way that transcends ordinary mood music. Yet mood music it is up to a point, for not much is allowed to disturb the warm Philharmonia blanket of sound, and though Lewis gets to display his fertile gospel chops on "Spiritual," he is a very polite American guest. One classical adaptation does find a place here; "The Earle of Salisbury Pavanne" by William Byrd (1543-1623) is turned into some kind of post-Fauré marmalade until a soft Latinish rhythmic underpinning arrives to save it.
Ramsey Lewis – Keys To The City 1987
Keys to the City is a studio album by American jazz pianist Ramsey Lewis, released in May 1987 on Columbia Records.[1] The album peaked at #22 on the Billboard Top Contemporary Jazz Albums chart and #11 on the Cashbox Jazz Albums chart.
Keys to the City was recorded at E & S Studios in Los Angeles, California; Home Sweet Home Studio in Evanston, Illinois; and Streeterville Studios in Chicago, Illinois.
Ramsey Lewis - Fantasy 1985
Fantasy is a studio album by American jazz pianist Ramsey Lewis, released in 1985 on Columbia Records. The album reached No. 13 on the Cashbox Jazz Albums chart.
The Two of Us (Ramsey Lewis & Nancy Wilson) 1984
The Two of Us is a studio album by American jazz pianist Ramsey Lewis and American jazz singer Nancy Wilson, released in 1984 on Columbia Records and produced by Stanley Clarke.[1] The album peaked at No. 5 on the Billboard Traditional Jazz Albums chart.
This is great supper club/cabaret fare. Not for serious jazz fans or purists.
Ramsey Lewis - Les Fleurs 1983
Les Fleurs is a studio album by American jazz pianist Ramsey Lewis released in 1983 on Columbia Records. The album peaked at No. 10 on the Billboard Jazz Albums chart and No. 32 on the Billboard Traditional Jazz Albums chart
Ramsey Lewis - Chance Encounter 1982
Chance Encounter is a studio album by American jazz pianist Ramsey Lewis, released in 1982 on Columbia Records.[3] The album reached No. 16 on the Billboard Top Jazz Albums chart.
Ramsey Lewis - Routes 1980
Routes is a studio album by American jazz pianist Ramsey Lewis, released in 1980 on Columbia Records.[3][4] The album reached No. 7 on the Billboard Top Jazz Albums chart.
Ramsey Lewis - Legacy 1978
Legacy is an album by the jazz pianist Ramsey Lewis, released in 1978 on Columbia Records.[2] The album reached No. 10 on the Billboard Jazz Albums chart.
Ramsey Lewis - Tequila Mockingbird 1977
Tequila Mockingbird is an album by the American jazz pianist Ramsey Lewis, released in 1977 on Columbia Records.[5] The album peaked at No. 6 on the Billboard Jazz Albums chart.[6][7]
The title track, composed by Larry Dunn, was released as a single in February 1978.
Despite the playful title, this effort often features the melancholy side of Lewis. He splits the production duties between Bert DeCoteaux and Earth, Wind and Fire member/keyboardist Larry Dunn. In both Dunn and DeCoteaux, Lewis works with producers he had never worked with prior to this. While the songs here do have trouble standing out, Tequila Mockingbird has a certain smoothness and cohesion that belies the sequencing and the different production styles. Whereas a producer like Charles Stephney made sure to match Lewis with evocative, challenging melodies, a lot of this has tracks any talented piano player could do. The Dunn productions, including the title track and "Skippin'," are heavy on a flashy, though well executed, style. The songs with DeCoteaux have a melancholy appeal. "Wandering Rose," a song Lewis first did on one of his late-'60s titles, and "Intimacy" both bring out the layers and emotion of his electric piano playing. The last track, the whimsical, Dunn-produced "That Old Bach Magic," is probably one of those tracks listeners never got to. All of the Dunn-produced efforts here have luminaries from Earth, Wind and Fire, including Al McKay and Johnny Graham on guitars and bassist Verdine White. Despite the producers and the artist, Lewis isn't given too much to work with here. That fact makes this less enjoyable than it could have been.
Ramsey Lewis - Love Notes 1977
Love Notes is a jazz album by Ramsey Lewis that was recorded in 1976–77 and released in 1977 by Columbia.[4] The album reached No. 10 on the Billboard Jazz Albums chart and No. 31 on the Billboard Top Soul Albums chart.
Ramsey Lewis - Salongo 1976
Salongo is an album by the jazz pianist Ramsey Lewis, released in 1976 by Columbia.[1] The album rose to No. 7 on the Billboard magazine Top Jazz Albums chart and No. 17 on the Top Soul Albums chart.
Those shocked or even dismayed by the lack of jazz on 1975's Don't It Feel Good would no doubt be pleasantly surprised by this. Released in 1976 and produced by Maurice White and Charles Stepney, Salongo offers a more substantial look at African and Latin styles. Around this time Lewis always had the good fortune to be supported by good bands and excellent side players like Verdine White, Ernie Watts, Jorge Strunz, as well as many others. The first track, "Slick" mixes Latin flourishes with straight-ahead jazz. The only less than stellar track is "Aufu Oodu," which has Lewis getting lost in the Earth Wind and Fire-derived production style. More convincing is the title track and it has a great bassline, tough drumming, strong horn arrangement, and, of course, smooth and quick electric piano solos from Lewis. The seductive "Brazilica" is a non-cloying experiment in Latin music, and is well known by fans of commercial '70s jazz and quiet storm. For the poignant "Nicole," Lewis plays both electric piano and acoustic with equal deftness and emotion. The last track, the methodical "Seventh Fold," was written by Stepney and has his characteristic adventurous approach and a sweeping string arrangement. Salongo earns most of its raves by being one of the few albums of the time to sidestep commercial considerations. The effort is also one of Lewis's best at getting his eclectic nature and is more enjoyable than the better-selling Sun Goddess.
Ramsey Lewis – Don't It Feel Good 1975
Don't It Feel Good is a 1975 funk/jazz-funk album by Ramsey Lewis released on Columbia Records.[4] The album peaked at No. 3 on the Billboard Top Jazz Albums chart and No. 5 on the Billboard Top Soul Albums chart.
Lewis' influential 1974 effort Sun Goddess set the standard for the soulful and commercial music that was to define his subsequent CBS work. This 1975 effort is the follow-up and features a charismatic, strong band featuring drummer Morris Jennings, bassist Tiaz Palmer, and album co-producer Charles Stephney on ARP and Moog. Unlike other pianists who switched to electric and synthesizer keyboards, Lewis sounds like he had fun, quickly attained another signature sound, and was so adept that he was often beyond censure. This starts off promising enough. The polished R&B title track has Lewis' now trademark Fender Rhodes playing and female backing vocalists who end up singing "Don't it feel good, Ramsey?" Is it pure jazz? Of course not, but it works. The album's best track, the ballad "Juaacklyn," is suitably moody with a barely there, echoed vocal, Lewis' emotional Fender Rhodes, and it boasts a dreamlike production that is Stephney's skill. Earth, Wind & Fire's "That's the Way of the World," a song that Stephney co-wrote, gets a strong if not scintillating version here. At this time, many players had to do their share of up-tempo tracks, whether it suited them or not. Thankfully disposable dance entries, "Spiderman" and "Fishbite" didn't start dance crazes and are too imitative of Herbie Hancock's fusion/funk of the time to be considered seriously. Like many efforts of the time, Don't It Feel Good's potential is marred by its commercial overtures, but the best tracks do rank with Lewis' best work of the period.
Ramsey Lewis – Solar Wind 1974
Ramsey Lewis - Sun Goddess 1974
Sun Goddess is a jazz album by Ramsey Lewis, released on Columbia Records in 1974. The album reached No. 1 on the Billboard Top Soul Albums chart and No. 12 on the Billboard Top Pop Albums chart.[5][6] Sun Goddess was also certified Gold in the US by the RIAA.
After his classic acoustic albums in the 1960s, Ramsey Lewis wanted to head in a new musical direction in the 1970s. As the mid-70s approached, he reunited with Maurice White, who at that time was with his own band, Earth, Wind & Fire. Members of EW&F including White played on the album sessions, while Philip Bailey added vocals.[8]
The album became a crossover hit, charting at No. 1 on the Billboard R&B and jazz album charts, while peaking at No. 12 on the pop album chart. The tracks, "Hot Dawgit" and "Sun Goddess", charted on the R&B, pop and disco singles charts.[3] Sun Goddess was certified gold by the RIAA.[7]
For years, the identity of the woman on the album cover, photographed by Herb Breuer, had been a mystery among fans, as there was no credit on the album cover. Lewis revealed on his Facebook page in June 2011 that the model was Susan Leigh Scott, now Susan Maxon.[9] Maxon had moved to Seattle, where Lewis was performing during his 2011 Sun Goddess Tour, and decided to attend one of his performances. A photo was taken of the backstage meeting between Lewis and Maxon, which Lewis posted on his page.
samedi 28 septembre 2024
The Crusaders (The Jazz Crusaders)
High school friends Joe Sample (piano), Wilton Felder[2] (tenor saxophone) and Nesbert "Stix" Hooper (drums) formed their first band together, the Swingsters, in Houston, Texas in 1954. They played a mixture of jazz and R&B, and were joined by Wayne Henderson (trombone), Hubert Laws (flute), and Henry Wilson (bass). The group soon turned more to hard bop, and renamed themselves the Modern Jazz Sextet, but also recorded in a more R&B vein as the Nighthawks (or Nite Hawks).[3]
In 1960, Sample, Felder, Hooper and Henderson moved to Los Angeles and formed the Jazz Crusaders as a quintet with a succession of different bass players. Influenced by musicians such as Cannonball Adderley, Art Blakey and John Coltrane,[4] the band signed to the Pacific Jazz label in 1961, and released 16 albums on the label over the subsequent eight years. With a front-line horn section of Felder and Henderson, the group's sound was rooted in hard bop, but with a slant towards R&B and soul music.[3]
Their first two albums, with Jimmy Bond on bass, were Freedom Sound (1961), and Lookin' Ahead (1962), followed by the live album At the Lighthouse (1962) and Tough Talk, the first of several albums with bassist Bobby Haynes. In all, the group recorded five live albums in the 1960s, four of which were recorded at the Lighthouse Café in Hermosa Beach. They also had their first chart entry, their treatment of Stevie Wonder's "Uptight (Everything's Alright)" reaching No. 95 on the Hot 100 in 1966.[5] The group's 1969 album, Powerhouse, was their first to reach the Billboard 200 album chart, reaching No. 184,[6] and was also their last studio album for Pacific Jazz.
According to jazz critic Scott Yanow at AllMusic, however, "after a few excellent albums during the early part of the decade... the group began to decline in quality."[3] Sample later commented that the group was under commercial pressure from record companies to record jazzed-up versions of contemporary popular songs.[4] Henderson left to become a record producer in 1975, and the other musicians regularly and increasingly worked as session musicians with artists such as the Jackson 5, Marvin Gaye, Joni Mitchell, Steely Dan, and Randy Newman. With a growing crossover appeal, the group's most commercially successful recordings included the single "Put It Where You Want It" (No. 52 pop, 1972), and the albums The 2nd Crusade (No. 45 album, 1973), Southern Comfort (No. 31 album, 1974), Chain Reaction (No. 26 album, 1975), Those Southern Knights (No. 38 album, 1976), and Images (No. 34 album, 1978).[6]
The peak of the group's commercial success came with 1979's Street Life, with Randy Crawford as featured singer. The album peaked at No. 18 on the pop album charts and the title track made the top 10 on the R&B chart, No. 36 on Billboard′s Hot 100 chart, and No. 5 in the UK.[7] Later albums by the group featured singers Bill Withers and Joe Cocker. The live 1982 album Royal Jam featured guitarist B. B. King, bassist James Jamerson, and the Royal Philharmonic Orchestra. Hooper left in 1983, and though Felder and Sample kept the group operating through the 1980s, the group's commercial success diminished.
Felder and Henderson reunited in the mid-1990s as the Crusaders.[3] Henderson later led a band called the Jazz Crusaders, in which Felder and Carlton also played, and Felder and Sample reunited as the Crusaders in 2003.[4]
Wayne Henderson died in Culver City, California on April 5, 2014;[8] Joe Sample died in Houston, Texas on September 12, 2014;[9] and Wilton Felder died in Whittier, California on September 27, 2015.
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