This classic recording has a beautiful balance of African aesthetics meet American soul, jazz, funk, rock and pop. The songs have a vintage sound that could only have been made by a South African playing American music in 1971. Along these lines, the album cover is the perfect visual representation of the music. While having a 1970's sound, "Hugh Masekela & the Union of South Africa" is by no means outdated, nor will it ever. The disc has an enjoyable mix of slow ballads, township infused instrumentals and fast funk. The song writing is superb, the musical improvisation is good and the voices soar.
Gold by The Beautiful South is the third greatest hits album to be released by the band. It is similar in design to other "Gold" albums released by bands either currently or previously of various labels under the Universal Music Group. The album is a 2 disc collection of both single and album tracks taken from the first 8 of the bands back catalogue. It was released without the band's consent and had zero input from the band.
As music director for Dave Koz and keyboardist for such icons as Teena Marie and Janet Jackson, Brian Simpson has earned a stellar reputation for his funky grooves and brilliant melodies. He is a nominee for the 2010 American Smooth Jazz Awards Keyboardist of the Year and, as music director of the Smooth Jazz Cruise, appears before thousands of fans as he performs with such greats as Smokey Robinson, Dave Sanborn, Boney James and many more! As the buildup for the release of South Beach continues, Brian will be featured on the Smooth Jazz Top 20 countdown which reaches over 50 major markets. In addition, a national tour is being booked in support of the release. Brian will be featured on the Dave Koz radio broadcast and will be the featured performer at the American Smooth Jazz Awards Show in October. Highlights include the smash hit radio single "South Beach," a slammin' duet with groovemaster George Duke on "Fire Sign" plus the exquisite "Summer Song," featuring the acoustic guitar of Peter White.
Verve gathers together all of the master takes of Charlie Parker's recordings with the swinging band of Afro-Cuban jazz pioneer Machito, along with ten other Latinized numbers that he cut in 1951-1952. Besides illustrating the willingness of producer Norman Granz to experiment and take Parker out of a small-group bebop straitjacket, this CD shows that Bird's improvisational style changed hardly at all in a Latin setting. He continued to run off his patented lightning bop licks over the congas and bongos and they just happened to interlock with the grooves quite snugly, although he did adapt his phrasing of the tunes themselves to suit their rhythmic lines…
Jazz collectors can be an obsessive, detail-minded bunch, so when they acquire Vol. 2 of CAP's Dizzy in South America series, they're bound to be frustrated by the fact that the credits don't give any exact recording dates or let you know exactly where in South America each 1956 performance was recorded. As frustrating as that is, however, Vol. 2 is a CD that collectors and Dizzy Gillespie fans will be glad to get their hands on. No serious Gillespie aficionado could resist hearing previously unreleased live performances of "Tin Tin Deo," "The Champ," and "Groovin' High," especially when the sound quality is decent (by 1956 standards) and the band boasts such heavyweights as Phil Woods (alto sax), Benny Golson (tenor sax), Jimmy Powell (alto sax), Walter Davis, Jr. (piano), and the tour's musical director Quincy Jones (trumpet). Gillespie has many inspired moments on trumpet, and featured vocalist Austin Cromer provides some memorable crooning on "Because of You" and "Wonder Why".
In the summer of 1956, the famed Harlem congressman Adam Clayton Powell arranged for Dizzy Gillespie to embark on a worldwide goodwill-ambassador tour sponsored by the State Department. Gillespie and an all-star big band featuring trumpeter Quincy Jones, the late trombonist Melba Liston, alto saxophonist Phil Woods, and tenor saxophonist Benny Golson performed in Ecuador, Argentina, Uruguay, and Brazil to frenzied, beret-wearing fans. Recordings were made but they weren't commercially available and were played only for a select group of musicians before Gillespie's death in 1993. Now the sides have been released, showcasing Dizzy at his bebopping best.