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Jazzhole - Blau 72 (CD, 2014) 9 Tracks LN
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Versand:
Kostenlos USPS Media MailTM.
Standort: Las Vegas, Nevada, USA
Lieferung:
Lieferung zwischen Mo, 21. Jul und Do, 24. Jul nach 94104 bei heutigem Zahlungseingang
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eBay-Artikelnr.:175311034476
Artikelmerkmale
- Artikelzustand
- Neuwertig
- Hinweise des Verkäufers
- MPN
- AMZ888295023061_usf
- Brand
- Unbranded
- Style
- ABIS_MUSIC
- Color
- Blue
- UPC
- 0888295023061
- EAN
- 0888295023061
Über dieses Produkt
Product Identifiers
Record Label
CD Baby, Cdb
UPC
0888295023061
eBay Product ID (ePID)
10046063464
Product Key Features
Release Year
2014
Format
CD
Genre
Urban
Artist
Jazzhole
Release Title
Blue 72
Dimensions
Item Height
0.23 in
Item Weight
0.12 lb
Item Length
5.53 in
Item Width
5.09 in
Additional Product Features
Number of Tracks
9
Number of Discs
1
Tracks
Drowning in the Sea of Love, You're So Vain, Alone Again (Naturally), Run to Me, (If Loving You Is Wrong) I Don't Want to Be Right, Rocket Man (I Think It's Going to Be a Long Long Time), Operator (That's Not the Way It Feels), Brandy (You're a Fine Girl), Ventura Highway
Notes
'While the acid jazz movement kicked off in London clubs during the mid '80s, that phenomenon of mixing jazz and hip-hop eventually reached Stateside by the early '90s in a wave of bands including Digable Planets, Guru and Jazzmatazz, Groove Collective and others. One of the groups to emerge on the scene in 1994 was Jazzhole, which broke out with their self-titled debut that year. Twenty years later, the core of that group - vocalist Marlon Saunders, keyboardist Warren Rosenstein, guitarist John Pondel - is still making outstanding music together. Their seventh recording, Blue 72, is a chill concept album in which the three principals re-imagine familiar pop and R&B tunes from the year 1972. Such hits as Carly Simon's "You're So Vain," Gilbert O'Sullivan's "Alone Again (Naturally)," the Bee Gee's "Run to Me" and Looking Glass' "Brandy (You're a Fine Girl)" get the full Jazzhole treatment on this soulful outing. With some help from vocalists Michelle Lewis (who interprets Gamble & Huff's "Drowning in a Sea of Love"), Rosa Ross (who breathes new life into Jim Croce's "Operator (That's Not the Way It Feels)") and Lindsey Webster (who contributes seductive Portuguese vocals on Elton John's "Rocket Man" and America's "Ventura Highway"). Saunders, who delivers stirring vocals on intimate, seductive renditions of "You're so Vain," "Alone Again (Naturally)" and "Brandi (You're a Fine Girl"), overdubs a vocal choir in approximating the Gibb brothers harmonies on "Run to Me." And he also turns in a faithful rendition of the Stax soul classic "If Loving You Is Wrong (I Don't Want to be Right)," which was a hit for singer Luther Ingram in 1972. "Most of Marlon's vocals were actually the pilot takes that he was singing along with the band," explains Rosenstein of their two-day recording session. "Marlon's singing is just so consistently remarkable that you don't even worry about, 'Was that a good vocal pass?' You just worry about, 'How was the band?' So not only are we talking about the absence of Auto-Tune and other technological gimmicks with Marlon, but also there were 30 or 40 other vocals he did on those two days that were all fantastic vocals that could've been on the record. So to me, working with Marlon is like a throwback to records that were made in the '60s, where you had one microphone and the whole band was in the room and if the band got a good take then that take was the vocal you used." Adds Rosenstein on the concept behind Blue 72, "I always felt that 1968 to 1973 was really just a great era for pop music, R&B, jazz and rock 'n' roll. If you go back now and look on the charts and see albums from those years that were #90 or #100 on the charts, they would all today be considered some of the best albums ever. Comparatively, there was just such an incredible amount of great music in that era. I'm not exactly sure why we ended up choosing 1972. It may quite simply been driven by the fact that Blue 72 rhymes." Regarding their longstanding chemistry over the past 20 years, Saunders says, "In the early years of Jazzhole we were spending seven to nine hours with each other every day, working and writing and eating together and laughing and just developing friendships and this sense of trust that we all have discovered together. And we know now that we like things to have space and we like to have a certain way that we want the music to groove and a certain harmonic sound that we may want. And we are able to do it in a way that it's a great environment for all of that to take place." Saunders adds that the band hit it's stride with it's fourth album, 2000's Blackburst. "When I hear that record I know that we've settled in harmonically and groove-wise. And from that point on, whenever it was time to come together to work on Jazzhole, it was very clear. By that point we had developed this sense of trusting that the space that we have discovered together is a place where we can creatively bring our ideas and know that someth
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