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See the entire Blues catalogue. See the entire latin catalogue. See entire Soundtrack catalogue. See entire library of World music. Mail Delicous MySpace. Sort and filter 59 albums sorted by Date: from newest to oldest. After two Grammy Awards and numerous accolades for his singing and songwriting, Still Rising is much more of a celebration of the ongoing artistry of Gregory Porter than a summation of his work.
From his debut to this comprehensive new release, Porter has been an artist whose oeuvre straddles generations—it is rare to find a contemporary artist whose songs can remind you of icons as diverse as Donny Hathaway, Nat King Cole and Oscar Brown Jr. This new collection does include previously released classics like the fiery " What?
The songs that reflect Gregory Porter's respect for the history of jazz most clearly are those where he duets with the voices of Ella Fitzgerald, Julie London and Nat King Cole. Still Rising is at once a wonderful overview of Gregory Porter's career up to this point, and a great release with new songs that highlight his amazing songwriting diversity and his place in the long history of jazz and rhythm and blues. Compilations are always useful to take stock, to contemplate the passing of time and to slip in a few rarities I have much more to say.
On the other hand, presenting your version of the classics is equally daunting considering that you're following heavyweights like Frank Sinatra, Judy Garland, and Elvis Presley. Norah Jones decided to split the risk by molding classics into her style while also writing half an album of new Christmas originals.
Twenty years past her early but still resonant hits like "Don't Know Why," and "Turn Me On" both from blockbuster debut Come Away with Me Jones makes her mark on the genre with the five tunes she penned, sometimes in collaboration with album producer Leon Michels.
The single, a Jones original called "Christmas Calling Jolly Jones ," is an enjoyably melodic holiday number. Her gospel-inflected "You're Not Alone" unfurls like a classic '60s country tune with an assembly of overdubs providing angelic vocals on the choruses and a pedal steel guitar ringing in the background.
Pedal steel returns on "Winter Wonderland" where a synth sounds like timbales. The champ among the classics attempted, however, is "Christmas Don't Be Late" which gets a wonderfully slow, torchy arrangement. Memorable details include the oozy horns of Raymond Mason, Dave Guy and Leon Michels, the snare drum reverb, and Jones—singing her own harmonies—leaning into the "hula hoop" line.
Berlin's "White Christmas'' gets a straight mid tempo cocktail jazz reading with Jones keeping up a brisk pace.
On the other hand, the Elvis chestnut, "Blue Christmas'' gets an ultra-slow reading with Jones on piano and vocals, letting her impeccably tight vibrato stretch over this holiday lament. The other favorite that Jones makes her own is "Run Rudolph Run," best known as Chuck Berry's Christmas hit, which here benefits from a deep rhumba beat and reverb on her doubled vocals. Ever the mercurial talent, Jones' holiday dream is a worthy addition to the Christmas lexicon that's merry and bright and yet innovative where it counts.
Bebop jazz remix albums are nothing new. In fact when it comes to the revered Blue Note catalog, it's been plumbed by remixers a number of times in recent years since Don Was took over as label president. As trendy an idea as it is, remixing or more accurately making new albums out of the raw materials provided by a catalog as illustrious as Blue Note's is a delicate dance. If the beat scientist generation hears a track with Lee Morgan's trumpet or Hank Mobley's tenor sax, perhaps this will pique enough curiosity to explore the original records.
An edge that McCraven has over straight remixers who may only be manipulating laptops is that he can add live instrumental tracks to samples of the original recordings.
With the octet he's assembled—vibraphonist Joel Ross, trumpeter Marquis Hill, alto saxophonist Greg Ward, guitarists Matt Gold and Jeff Parker, bassist Junius Paul, and De'Sean Jones on tenor saxophone and flute—McCraven can control, accentuate and reshape the core rhythms of the older recordings, guiding the remix with live drums and percussion.
His method is intricate and controversial, often working best when just he and a few extra instrumentalists contribute. A track like "Wail Bait," written by Quincy Jones and originally played by an all-star group of boppers including trumpeter Clifford Brown, pianist John Lewis and drummer Art Blakey, now has Brown's horn and Blakey's drums opening before McCraven's drums enter and then Jones' flute, Ross' vibraphone and McCraven on guitar take over the tune.
In Kenny Burrell's version of "Autumn in New York," here called "Spring in Chicago," his original guitar part meshes beautifully with the added flute and vibes. Art Blakey — Mosaic. Herbie Hancck — Takin Off. Dexter Gordon — Go. Sheila Jordan — Portrait Of Sheila. Freddie Hubbard — Hub-Tones. Kenny Burrell — Midnight Blue. Donald Byrd — A New Perspective. Hank Mobley — The Turnaround!. Joe Henderson — Page One. Herbie Hancck — Inventions And Dimensions.
Jackie McLean — Destination… Out!. Grant Green — Idle Moments. Andrew Hill — Black Fire. Lee Morgan — The Sidewinder. Eric Dolphy — Out To Lunch!. Andrew Hill — Point Of Departure. Wayne Shorter — Night Dreamer. Herbie Hancck — Empyrean Isles. Wayne Shorter — Juju.
Wayne Shorter — Speak No Evil.
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