Reissue with the latest 24-bit remastering. Features original cover artwork. Comes with a descripton in Japanese. Fast and funky fusion from David Matthews – building off the sound of his later Kudu recordings with a sweet electric groove! The album's got a pretty full approach overall – with Matthews on electric piano, and directing a large group of players that includes Mike Maineri, Michael Brecker, Jon Faddis, Shunzo Ohno, and Ronnie Cuber – and a number of tracks feature a vocal chorus that includes Ullanda McCullough and Yvonne Lewis. The overall style is slick, but not in a bad way – and Matthews more than meets the Japanese fusion sound head to head for this non-US release from the time!
Reissue with the latest 24-bit remastering. Features original cover artwork. Comes with a descripton in Japanese. Ronnie Foster cut plenty of sweet fusion sides for Columbia Records at the start of the 80s – but this set's from the second half of the decade, and was initially an album that was only issued for the Japanese market! Foster arranged the whole record himself, and works with a nice lean lineup that includes Phil Upchurch on guitar, Harvey Mason and Ndugu on drums, and Paulinho Da Costa on additional percussion – all in a groove that's kind of a mid 80s update of Foster's earlier mode, still delivered with just the right sense of space and soul! Titles include "Ipanema Walk", "Festival Do Brasil", "Squirt", "Night Life", "Europe", and "The Racer".
Rock guitar virtuoso Jeff Beck dazzles the crowd at celebrated London jazz club Ronnie Scott's with an extended set that includes hits such as "Beck's Bolero" and "'Cause We've Ended as Lovers." The former Yardbird proves he's still got the chops on other tunes including "Blast from the East," "Eternity's Breath," "People Get Ready" (with vocalist Joss Stone), "You Need Love" (with fellow Yardbird Eric Clapton) and more.
Reissue with the latest 24-bit remastering. Features original cover artwork. Comes with a descripton in Japanese. One of the best Jazz Fusion albums ever produced…..and Eric Gale on guitar is a wonderful contributor. Recording is similar in sound and vibe to Eric Gale's other Jazz/Fusion records. If you like "In a Jazz Tradition" or "In the Shade of a Tree" you'll like this.
Reissue with the latest 24-bit remastering. Features original cover artwork. Comes with a descripton in Japanese. Mid-'80s big band recordings featuring the arrangements and compositions of David Matthews, mixing swing, bop, soul-jazz, and fusion influences. There's a blend between acoustic and electric, standards and originals, and tightly crafted ensemble-dominated arrangements and straight blowing material.
Reissue with the latest 24-bit remastering. Features original cover artwork. Comes with a descripton in Japanese. A Tokyo native born in 1957, Toshiyuki Honda is a professional saxophonist, composer, arranger, and producer. In 1978 he released his first album as a leader, "Burnin' Wave," while still a university student. As one of Japan's best-known saxophonists, Honda has since recorded with a host of world-celebrated musicians including Chick Corea, Freddie Hubbard, and Christopher Cross among others. Honda is also widely known for his versatile skills as a composer and arranger of scores for TV dramas, commercials, movies, and classical music genres.
In 1981, a lot of rock & rollers were claiming that the disco era was officially over. Disco, of course, never really died – a lot of the dance-pop, house music, Hi-NRG, and Latin freestyle that was recorded in the '80s and '90s was essentially disco – but as far as many of the radio stations and record company A&R men of 1981 were concerned, disco was dead. And that was bad news for Chic, a group closely identified with the disco era. Even though a lot of Chic's work had as much to do with funk and soul as it did with the Euro-disco sound, Chic was unable to live down its reputation as a disco group. But Nile Rodgers and Bernard Edwards gave it a try with 1981's Take It Off, an admirable, if uneven, project that finds the group downplaying the Euro-disco elements.
Never realised the breadth of the "Pop-Sike" genre until I heard Fading Yellow, a really fine compilation that hangs together beautifully as an album. That most of the tracks are obscure isn't surprising: everything is a little odd, a little ramshackle, with a strong melancholic undertow and not a little creepiness. Of course, this music is also specific to a particular time in Western pop music history so there's a strong nostalgic element, but the knowledge this music could never be exactly replicated is what also makes it so fascinating. Recommended, in a warm and loving 60s way.