Posts Tagged ‘ Funk ’

David Garfield – Jammin’ – Outside The Box

Every musician strives for immortal fame. This can hardly be achieved with public appearances, as the moments are too short. An album is more suitable as a building block. But keyboard player David Garfield thinks ahead. He has already recorded music for four albums for his Outside The Box Project and they will all be released.

We are currently in a phase of transition to the tetralogy of his creative urge. After the release of his first album Jazz – Outside The Box, David Garfield’s vision of straight-ahead jazz, now follows Jammin’ – Outside The Box, a collection of popular songs performed by an army of noteworthy soloists including George Benson, Ray Parker Jr., Kirk Whalum, Rick Braun, Marcus Miller, Paul Jackson Jr., Eric Marienthal, Tom Scott, Vinnie Colaiuta, Greg Phillinganes, Smokey Robinson, Greg Adams, David Sanborn, Bill Champlin, Phil Perry, Oleta Adams, John Klemmer, Michael McDonald, Kenya Hathaway, Steve Jordan, Freddie Washington, Will Lee, Tony Maiden, Rickey Minor and Lenny Castro. Everyone will know one or the other, but rarely do you experience such a number of exceptional artists on a single album.

The horn powered Go Home, a cover of Stevie Wonder’s hit single from his album Square Circle (1985), is dedicated to late drummer Ricky Lawson. Nick Lane has created the superb horn arrangement staring featured soloist Kirk Whalum on tenor sax. Chasing Pavements is a single by Adele from her debut album Hometown Glory. The vocal part of the cover is substituted by Rick Braun on flugelhorn and John Klemmer on sax.

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Eddie Reddick – Bass Matters

Eddie Reddick’s new 2018 album Bass Matters is a compilation of funky informative songs staying true to the old school format. The title cut, “Bass Matters” is a funky instrumental featuring the Bass. “This Time”, is a tune dealing with a male who tries to convince his ex lover that no one will do all the things he did for her when they were together, and how wrong she was for walking out on him. “Don’t Leave Me Lonely” is a song dealing with a guy who made a bad choice in a moment of weakness, his wife finds out, an now he’s paying for the mistake because she has left him. Now he’s trying to win her back. “Just Like I Told You”, is a song depicting how two people meet, fall in love, get married have kids, face many adversities and still manage to stay together, way into their golden years. “Total Ecstasy”, is a Bass driven song dealing with a shy guy who doesn’t have the courage to approach a woman he’s been attracted to for a while, so he keeps promising himself every night will be the night he will make his move.

“Never Give Up”, is another Bass Driven song explaining that we should never give up on anything we choose to pursue in life. “Distractions”, is a song describing how so many things in our lives are taking our attention away from things which are important to us, causing negative things to occur as a result of losing focus. “The Most Beautiful Girl”, is a song written by Prince. I’ve always loved the melody and the message of this song. That’s the reason I decided to cover it on this CD. “Wish I Could Do That”‘ is a song of love and hope. Encouraging the whole world to sing and dance along with each other. A great compilation of heartfelt songs written to entertain and inform on some level or other. Let it play, listen and enjoy the stories and the grooves.

Get the album here.

Marcus Miller – Laid Black

LaidBlackBass great Marcus Miller brings the influence of modern urban music to his trademark sound on his highly-anticipated, genre-defying new album Laid Black, which will be released June 1 on Blue Note Records. The album pre-order is already launched along with the lead single “Untamed” which is available to stream or download now.

It’s been three years since Miller’s last album, Afrodeezia, which The New York Times called “vibrant and expressive… music that frames his playing beautifully.” Miller says: “Afrodeezia was like a musical voyage through my history. I followed the journey of my ancestors by collaborating with musicians along the African Slave route – musicians from West Africa, North Africa, South America and the Caribbean. With Laid Black, I decided to bring the music right up to the present – using elements from what’s happening in urban music today. So you’ll hear hip-hop, trap, soul, funk, R&B and jazz on this album. The music is calm but also powerful and funky, drawing on the black musical experience. Laid Black.”

Miller recorded most of the nine tracks on Laid Black with his band in a New York studio and also recruited guest artists Trombone Shorty, Kirk Whalum, Take Six, Jonathan Butler, and Belgian singer Selah Sue. Of his band, Miller says: “My guys are incredibly talented. They play everything from bebop to hip-hop. All of the special guests I called have the same vision about jazz, which made it possible to create this mix of music. Oh and if you like bass, there’s plenty of serious bass work on this album too! Continue reading

Byron Miller – The Gift Psychobass 2

Bassist Byron Miller shares the fate of many sidemen who play with the superstars without the fame promotes their reputation significantly. He performed with George Duke, Roy Ayers Ubiquity, Santana, Herbie Hancock, Joe Sample and The Crusaders, Marvin Gaye, Whitney Houston, and Luther Vandross.

In 2015 he released Psycho Bass, the fourth of his solo career after Git Wit Me, Until (1997), and I’ll Come By (2003), with three of the last recorded performances of George Duke, Ndugu Chancler on drums, guitarist David T. Walker and percussionist Sheila E. Psycho Bass is Byron’s Funk name.

The Gift: Psychobass 2 (2018) is Myron’s follow up offering performances of Kirk Whalum, Paul Jackson, Jr., Walter Beasley, Gordon Campbell, Phil Davis, Munyungo Jackson and more. Three tracks with Ndugu Chancler on drums he just left off. “When he passed, I couldn’t hear anybody else playing on them…”

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The Jamal Thomas Band – Funk Don’t Move

Jamal Thomas is an excellent drummer with more than 30 years performance experience. He played with Maceo Parker, the SOS Band and the producer duo Jimmy Jam & Terry Lewis.

His solo debut was Family, a vocal album. His newest project is the Jamal Thomas Band, a loose formation with changing members. This band was founded in 2009. The first album was Future in 2013. Funk Don’t Move (2017) is the sophomore album.

The band consists of Jamal Thomas (drums & lead vocals), Maya Lisa (lead & backing vocals), Alex Bernath (drums & rap), Daniel Lottersberger (bass), Coen Molenaar (keys & synth bass), Frank Deruytter ( sax & backing vocals) and Guy Nikkels (guitar). Guest musicians on selected tracks are Chuck Leavell ( piano, Hammond) and Rodney “Skeet” Curtis (bass).

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Ron Otis – Stay In Your Lane

A common denominator of Earl Klugh, Bob James or Al Turner is drummer Ron Otis. You find him in addition to on recordings of Kim Scott, Lin Rountree, Brian O’Neal, Justin Young, Dave McMurray, Alexander Zonjic, Al McKenzie, Charles Greene, Randy Scott and more.

After his debut album Upfront (2009), Stay In Your Lane (2017) is his sophomore album. The album comprises nine musical works, shaped by alternating teams of musicians, in which drummer Ron Otis is the common factor and style-forming element.

Low Beat is a creation by pianist Charles Scales, who together with Ron and bassist Al Turner forms a punchy trio. The ground patterns are layered by Charles with a signature clavinet part on which he expands his spacious piano excursion. The theme accelerates in a staccato tempo, a great basis for Ron, to elaborate a filigree structure on the various percussion ensembles.

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The New Triumph – Keep on Push’n

Funk, Afro-Latin and jazz come together with The New Triumph’s Keep on Push’n (2017).

The musicians are Camilo Estrada, bass; Marc Hager, keyboards; Arie Pytel, guitar; Adam Kessler, drums; Ahkeenu Musa, percussion; Robby Beasley, trumpet on five tracks; Scott Morning, trumpet on three songs; Ariel Chi-Linh Nguyen Loud, saxophones.

“Intro Cut” is a sensational opening track. Imagine you’re at a concert, and anxious for the show to begin. Then, when the curtain finally opens, a dramatic swell, not unlike the production company fanfare that introduces a movie. That formality aside, the band shifts into a free-for-all jam. The blended horns carry the lead. Or do they? There’s so much going on from the other instruments, the bass line, the wah-wah guitar, the keys, drums and percussion. Everybody gets in on it.

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