Noviembre 17, 2007 a 12:51 pm (Uncategorized)
La música de esta grabación, a pesar de la diferencia en la instrumentación, no suena radicalmente distinta a la de Ornette Coleman’s harmelodic en su música de la década de los 80. Altoist Steve Coleman es la principal voz en la mayor parte de sus originales y su estilo solitario (a menudo basándose en gran medida en su conjunto, y el tono es un inesperado intervalo de saltos) es intrigante y a veces basaso en un funky excéntrico, obviamente más puro que cmercial. Incluir en dos melodías enfadados puede dismunuir lacalidad del disco si nlo que se busca es solo un jazz moderno con bases de fusión. Esto últmo es lo interesante, funky,, jazz, rap y algo de acid, es lo que da el toque a la obra.
The music on this “M-Base” recording, despite the difference in instrumentation, does not sound radically different than Ornette Coleman’s harmelodic music of the 1980s. Altoist Steve Coleman is the lead voice throughout most of his originals and his solo style (often relying heavily on whole-tone runs and unexpected interval jumps) is intriguing, but it would be surprising if his rhythm section did not get bored playing the funky (although eccentric) rhythms after awhile. Two tunes include angry raps that lower the quality of the record. Steve Coleman’s CD is obviously not “The Resurrection of Creative Black Civilization” (its immodest subtitle) for how can one resurrect something that has never died? However it does contain plenty of creative (if disturbing) improvisations.
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Noviembre 8, 2007 a 5:03 am (Funk)
Totally Connected
A feeble attempt by the TK family of labels to captured a piece of the ’70s/’80s funk market. The title track is a poor man’s Bootsy’s Rubber Band track that doesn’t warrant repeated plays, a critique that holds true for all eight tracks. Everything sounds imitative and stale. Two midtempo numbers, “Let’s Do It Today” and “Choosing,” represent the best tracks, but even they are forgettable.
Tracks.
1. Totally Connected
2. Ecstasy
3. Let’s Do It Today
4. I Like Funkin’ With You
5. Choosing
6. That’s Love
7. Danger Zone
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Noviembre 6, 2007 a 1:05 pm (Uncategorized)
Switch’s sophomore album picks up where the group’s debut left off. Scintillating harmonies and torching leads by Philip Ingram and Bobby Debarge make “Calling on All Girls,” written by Jermaine Jackson, a standout. Equally as captivating is the roller coastering “I Call Your Name,” written by Bobby Debarge, a song that aptly depicts teenage infatuation. They handle uptempo material with aplomb, too. Check out the groove on “Best Beat in Town, and the urgency and realness of “You’re the One for Me.” A bright yellow album cover depicts Switch dressed in fly outfits and enjoying the California sun. The guys from Akron, OH and Grand Rapids, MI had it going on, and probably thought the phat grooves and adulation would never stop.
Tracks:
1. You’re The One For Me
2. Next To You
3. Best Beat In Town
4. Calling On All Girls
5. Go On Doin’ What You Feel
6. Fallin’
7. I Call Your Name
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Noviembre 1, 2007 a 3:53 am (Uncategorized)
The Pursuit of Accidents (1982)
Although they didn’t really begin to have dance/pop hits until later in the ’80s, the English group Level 42 provided some fine performances on this album. While vocals weren’t their strong suit, they did a reasonable job of harmonizing and at least getting through the melodies, while the production and arrangements helped embellish and compensate for their singing inadequacies. Although such groups as the Pet Shop Boys and even Thompson Twins do this type of thing better, Level 42 at least isn’t irritating or self-indulgent. (AMG)
Tracks:1. Weave Your Spell Gould
2. The Pursuit of Accidents
3. Last Chance
4. Are You Hearing (What I Hear) ?
5. You Can’t Blame
6. Eyes Waterfalling
7. Shapeshifter
8. The Chinese Way
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Noviembre 1, 2007 a 1:16 am (Uncategorized)
Brick fue una banda formada en la segunda mitad de los años 70 y emergió con claros ritmos de funk, soul y jazz con el tema Dazz (disco jazz). De esteb disco en particular, que no tuvo el mismo impacto que Brick o Good High de 1977 y 76, respectivamente, es destacable que la banda mantuvo su fuerza, sobrevivió al disco, sin echar mano de él y logró mantener un funk acorde al año (1980) con algunos temas recordables para los gustosos del funk como “Free,” “Get Started,” “Sweet Lips,” “Push, Push” y Waiting of You, quizá el tema de estructura más pura en cuanto a funk y semejante al estilo que el grupo, dentro de su esencia, mantuvo e Summer Heat de 1981.
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