Bigmouth – a project of bassist Chris Lightcap – apparently is inspired by stretched-out, two-toned, tail-finned, white-wall-tired cars of the mid-'50s, in reference to the cover art on Deluxe. The music is ultra-modern from a compositional standpoint, only hinting at neo-bop while pushing the creative improvised harmonic envelope. Lightcap's expertise on the bass is second to none, as he pushes and prods his way through these original works with an absolutely stellar band of drummer Gerald Cleaver, electric keyboardist Craig Taborn, tenor saxophonists Tony Malaby and Chris Cheek, and on three tracks alto saxophonist Andrew D'Angelo. While some allusions to the vintage autos are reflected in the titles, Lightcap's vision is of the future, a heady mix of heart and soul embedded in this refreshing new music.
In the summer of 2016 I lived in Ibiza. I played 50 sunsets on the Spanish island and across the Mediterranean in Italy. When the season was over, reflecting on this busy time, I decided that my favourite place wasn’t so much one physical place, it was more a feeling that occurred at a certain time of day. My favourite place was anywhere, just before sunset, especially if there was a clear view of the sun setting into the sea.
Producer Chris Bangs cranks out ten jazzy dazzlers, contributing musically on bass and drums and co-writing eight of the ten songs, with many featuring the delightful vocals of Camelle Hinds, who is simply entrancing on "State of Mind" and "Always Be the One." The title track is a delicacy for the ears, an intricate movement arranged with diamond-cutter precision. Living up to his name, "Way Over There," "Watuzi Strut," and "Guiding Light" are bangers from a banging, slick, contemporary jazz CD.
Known for his solo hits in the 1980s as well as his hits with the band Smokie in the '70s, Chris Norman is a British soft rock singer with an international following whose career spans several decades. Breathe Me In is the solo album by Chris Norman, released in 2001.
Into the Light contains Chris de Burgh's highest-charting single with the ballroom elegance of "Lady in Red," peaking at number three in 1987 and remaining on the Billboard charts for 14 weeks. This song, with its sweeping romantic tempo and classy feel, is reminiscent of Eric Clapton's "Wonderful Tonight" as de Burgh's sincere flattery for his lover is exquisitely sung. Even his voice seems more pronounced, as it resonates and then lowers into a softer tone. Besides the hit single, much of the album remains lush and mellow in the style of de Burgh's usual ballads. On songs like "Last Night" and "Spirit of Man," his seriousness and honesty break through to showcase his passion for his work…