"He's not just a percussionist," seems to be the message Mino Cinelu is trying to convey on his eclectic first solo album after a lengthy career as an accompanist to jazz and pop stars. In that attempt, he steps out from his battery to sing, play guitars and flute, and to compose, arrange, program, and produce the music. The results range from the folk-rock feel of "Confians" to the South African flavor of "Chouval Boa" and the Latin sound of "See Yea - Salee Yea" (which will remind pop fans of Lionel Richie's "All Night Long (All Night)" ). But it takes nothing away from Cinelu's varied abilities to say that he is really a percussionist writ large on this album, one who has a fondness for nature (wind in "Moun Madinina," crickets in "Shibumi Dunes (Silk Road)" ) and unusual drum sounds (the latter a definitional characteristic of percussionists). Therefore, your level of interest in the recording will depend on how fond you are of percussion.
This intriguing set features percussionist Mino Cinelu with Kevin Eubanks (on acoustic guitar) and bassist Dave Holland. They perform four Eubanks songs, three by Holland, and two from Cinelu, music that ranges from exotic sounds to light and creative funk grooves. It is quite intriguing hearing Eubanks sticking exclusively to his acoustic guitar and Cinelu adds plenty of catchy yet unpredictable rhythms. However, Holland often takes solo honors and he usually holds the group together with his authoritative and flexible sound. Very interesting music that's worth listening to closely several times.
Cette année là, notre compteur affiche un nombre vertigineux d'heures passées à nous laisser bercer par le bourdonnement du didgeridoo de Stephen Kent. Si certains morceaux comme impro évoquent inévitablement le carnet de route de Romano, Sclavis et Texier, la nature même de la section rythmique (percussions, didgeridoo) permet à l'ensemble de s'en émanciper. Michel Portal retrouve ici un vieux complice: Mino Cinelu (turbulence, men's land).
This album is quite unique and it deserves your attention even if unfortunatly it is out of print actually. Well, if you find it used, you can buy it with confidence. It has been recorded in 1995 and it's not a common Jazz album with piano, double bass and drums. Here you have the fantastic Kenny Barron at the piano obviously, but he plays keyboards and double bass too and the incredible Mino Cinelu who plays a lot of different instruments (mandolin, banjo, guitar, keys, drums, percussions, additional sounds effects ... and he sings too in a couple of tune). It is a collaboration of these two artists exclusively. The result is a very strange album, very entertaining and incredibly well played and written.
Eubanks, Cinelu, and the sublime Dave Holland achieve Vulcan mind-meld status as an ensemble on this spirited, swinging collection of acoustic guitar, bass, and percussion grooves. If you're a fan of albums like Tim Sparks' luminous "Tanz" on the Tzaddik label, you must get this. If you're a Holland enthusiast, you will supremely dig Holland's super-muscular virtuosity here. If you know nothing about Eubanks other than his "Tonight Show" gig (I mean, whatever), prepare to be astounded by his fine taste, depth, and fluid imagination. This is a superb record! * amazon.
Sambao is Kenny Barron's tribute to Brazilian music done his way. These original compositions by the peerless pianist combine jazz and samba in a modernistic way, with no copying of tunes from the master Antonio Carlos Jobim, and no hint of the populist Stan Getz approach due to the lack of a lead instrument, save Barron's attractive and inventive piano. He's accompanied by heavyweights of the Rio-cum-New York City scene, including guitarist Toninho Horta, bassist Nico Assumpção, and French-born percussionist Mino Cinelu. Barron's (and most people's) favorite jazz drummer Victor Lewis is included, reinforcing the rhythms expertly as usual…
The baritone saxophone is seldom heard outside brass sections of big bands. As a solo instrument or as the only brass instrument in a band it is a real rarity and there is only one female baritone saxophonist who truly masters her instrument – Céline Bonacina. You might be surprised to see the petite Frenchwoman pick up an instrument that is almost the same size as her but, when she starts playing, the mésalliance becomes a symbiosis and the sound flows out without effort.
Along with its sister recording, Pangaea, Agharta was recorded live in February of 1975 at the Osaka Festival Hall in Japan. Amazingly enough, given that these are arguably Davis' two greatest electric live records, they were recorded the same day. Agharta was performed in the afternoon and Pangaea in the evening. Of the two, Agharta is superior. The band with Davis – saxophonist Sonny Fortune, guitarists Pete Cosey (lead) and Reggie Lucas (rhythm), bassist Michael Henderson, drummer Al Foster, and percussionist James Mtume – was a group who had their roots in the radically streetwise music recorded on 1972's On the Corner, and they are brought to fruition here.
“If you have an ear for creativity, listen to Sonya, whose phrasing and
chromatic chords are reminiscent of Stuff Smith and Ray Nance.
Watch out for her.” Miles Davis