This comprehensive compilation includes every track Wansel recorded for PIR as a solo artist between 1976 and 1979 that featured on his 4 jazz-funk oriented albums for the label. Life On Mars (R&B #44), What The World Is Coming To (R&B #45), Voyager (R&B #37) and Time Is Slipping Away (R&B #58) allowed Wansel to show his myriad talents to the fullest and explore his deep interest in the cosmos.
The harmonically advanced trumpeter Thad Jones is a perfect contrast to the tenor of Dexter Gordon on this enjoyable Prestige LP. Gordon was somewhat forgotten in the United States at the time (his "comeback" was still four years away), but is in excellent form on the four numbers, particularly during a passionate version of "The First Time Ever I Saw Your Face."
Closer Than Close is a different album from the Queen of Philly Soul. Jean previously sang jazz with former husband Doug Carn, then became familiar to soul fans through her work with Norman Connors and further secured lifelong fans through her four album affiliation with Gamble & Huff's Philadelphia International Records from 1976 and one further solo album for Motown in 1982.
Here are the first two albums from pioneer smooth jazz unit Pieces of a Dream on a single disc. Produced and mixed by the late Grover Washington, Jr., Pieces of a Dream/We Are One combine soulful, tight arrangements, spirited and inspired playing, and a canny knack for grooves, Pieces of a Dream and We Are One endure as gems of the genre.
Recorded for Mercury in 1976, the Nightflight sessions saw Szabo travelling to Philadelphia's Sigma Sound Studios to make an album indebted to the funky, soulful music of the legendary Philadelphia International Records home to such artists as Teddy Pendergrass, Lou Rawls, Billy Paul, Harold Melvin & The Blue Notes, The Three Degrees and The O'Jays. Deepening Nightflight's links to The Philadelphia Sound were the musicians accompanying Szabo. The rhythm section comprised members of Instant Funk a group who appeared on many Philadelphia International recordings alongside various studio players, among them keyboardist-composer Dexter Wansel and guitarist-pianist-singer Bunny Sigler who also produced the sessions. The result is a colourful fusion of lush soul music with Szabo's distinctive brand of jazz guitar.
Back to Now is the seventh and latest studio album by American R&B female group Labelle, released on October 21, 2008. The album is the group's first in over thirty years though they had sung on songs together on occasion. Sounding every bit as sassy, fresh and edgy as in their heyday, Patti, Nona and Sarah have brought together some of the powerhouse talents of today & yesterday to create a true event. The first single 'Rollout' prominently features Wyclef Jean on an upbeat contemporary anthem that will expose Labelle to a whole new audience. Lenny Kravitz plays all over the three tracks he produced combining unique R&B retro sounds with his natural rock edge. The Masters of Philly Soul Kenneth Gamble & Leon A. Huff bring their magic to four of the album's ten tracks. The album closes with a recording of 'Miss Otis Regrets' from 1969. Produced by Kit Lambert.
Singer Jean Carne's career has had various incarnations, as well as a slight name change similar to Dionne Warwick's (adding an "e" to the end of her last name as Warwick did for a short time). Born Sarah Jean Perkins in Columbus, GA, she was raised in Atlanta. She began singing gospel music in the church choir at age four; she also took piano lessons and learned the clarinet and bassoon. Carne won a music scholarship to Morris Brown College and began her recording career in 1969 with her husband, keyboardist Doug Carn, on the Black Jazz label, where she was one of the last vocalists to work with jazz legend Duke Ellington before his death.
Double helping of 2 of Lou Rawls 80's albums recorded for Epic Records
Don Covay – a singer who started out as a fairly straightforward soul performer, then got a bit bluesier in the early 70s, then shifted back to a more pop-oriented groove. This one's got Don working with arrangements by Bobby Martin and Dexter Wansel that still keep the bluesy quality in his voice, but go for sort of a Philly modern mode in the arrangements, in the mode that was used on Bobby Rush's one album for Philly.