Музыка в lossless форматах (часть 5) - [112] :: Музыка и Кино

Bobby Lyle - Rhythm Stories
JAZZ + FUNK | FLAC | CUE | LOG | 300DPI ARTWORK | 402MB | 59:00
Atlantic 1994

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Bobby Lyle's success since the release of 1989's classic Ivory Dreams has been due chiefly to his astonishing ability to combine acoustic piano elegance with relentlessly funky grooves, always on the same album, often on the same cut. That album's juxtaposition of "Lush Life" and "Loco-motion" offers a great case in point. While Lyle draws brightly on tradition, he loves to go wild and urban any time he gets a chance, yet while most of his albums since then have been solid, he has never seemed to measure up to the promise of that auspicious debut. "Pianomagic," a collection of piano solos, in particular missed the mark. No such trouble these days. The subtitle of one of the feistier tracks on Lyle's endlessly electric Rhythm Stories "jazz hip-hop funky bebop, " perfectly summarizes the multi-faceted keyboardist's range and influences. On his most satisfying and eclectic outing to date, he alternates bass-driven soul that won't quit with artsier, romantic musings, fusing synergetic ensemble lightning with quieter reflections. When not limiting himself to his premier weapon, those magical 88s, he enjoys toying with a wide variety of keyboard sounds, most notably the organ effects on two dashing Stevie Wonder covers. "Higher Ground" and "Here We Go Again" offer a flair of familiarity, but are only two of the reasons to buy this genre-transcending collection. A melodic ace, Lyle saves his memorable hooks for slick ballads like "Exotic Love," while leaving ample openings on the jams for each member of his "who's who" ensemble room to expand, grow, whet their chops, etc. Jazz-meets-hip-hop projects usually possess a certain canned, synthetic production sheen about them, so Lyle also merits gold stars for the extraordinarily live sound he achieves blowing with every cat from Kirk Whalum and Gerald Albright to Marcus Miller and Stanley Clarke, among a cast of thousands. OK, why not mention a few more -- Everette Harp, Paul Jackson, Jr., Sonny Emory, and Peter White. ~ Jonathan Widran, All Music Guide

Bobby Lyle - Leader, Fender Rhodes, Piano
Gerald Albright - Tenor Saxophone
Lenny Castro - Congas, Bongos
Kirk Whalum - Alto Saxophone
Sonny Emory - Drum Kit
Dwight Sills - Guitar
Lori Perry - Vocals
Ray Fuller - Guitar
Peter White - Guitar
Michael Stewart - Trumpet
Paul Jackson - Rhythm Guitar
Marcus Miller - Electric Bass
Kenny Garrett - Alto Saxophone
Everette Harp - Soprano Saxophone
Stanley Clarke - Electric Tenor Bass
Reggie Hamilton - Electric Bass, Synthesizer

TRACKLISTING:
01. Cool Walk
02. Here We Go Again
03. On the Spot
04. B's Mood
05. Junk Street
06. Higher Ground
07. Exotic Love
08. Don't You Know
09. Tonight We Love
10. Anthem
11. Love Suite

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Bobby Lyle - Hands On
SOUL + JAZZ | FLAC | CUE | LOG | PNG ARTWORK | 385MB | 50:33
Heads Up International 2006

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Nearly 30 years and 15 albums deep into one of contemporary jazz's most consistently melodic and funky careers, Bobby Lyle continues to take a Hands On approach to creating a perfect balance of elegance and groove. On his Heads Up debut, the versatile pianist -- who has been musical director for Bette Midler, Al Jarreau, and Anita Baker, et al., between solo projects -- is intent on grabbing the listener right away with three jamming and danceable, synth brass-flavored tracks that also lightly showcase his inventive and playful sense of improvisation. He sandwiches a gleeful, bouncy version of the familiar disco hit "Best of My Love" with the seductive "Passion Drive" and the title cut, on which Lyle floats a light-on-its-feet melody over thoroughly modern crunchy, thumping beats. Amidst this rhythmic overdrive are a handful of cuts that perfectly capture Lyle's trademark romantic vibe: the balmy, tropically tinged "Poinciana," the reflective closer "Beth" (which showcases his sweet ivory magic at its most poignant), and "Lost in Love," an irresistible ballad written and performed by Lyle and the always captivating Peabo Bryson. Longtime Lyle fans will also enjoy the heavy mix of old-school synth and acoustic piano on "Return of the Genie," which recalls the cool vibe of his debut album, The Genie. It's a perfect way to chart his growth as an artist over the years and to show that the charm was there from the beginning. ~ Jonathan Widran, All Music Guide

Bobby Lyle - Fender Rhodes, Piano
Martin Walters - Electric Bass
Joe Vincelli - Alto Saxophone
Todd Parsnow - Lead Guitar
Larry Spencer - Trumpet
Keith Vivens - Bass
John Adams - Bass
Keith Banks - Drum Kit
Keith Adkins - Trombone
Wayne DeLano - Saxophone
Larry Kimpel - Electric Bass
Johny Calderon - Rhythm Guitar
Jorge Ginorio - Bongos, Congas, Percussion

TRACKLISTING:
01. Passion Drive
02. Best Of My Love
03. Hands On
04. Lost In Our Love
05. Fancy Pants
06. Poinciana
07. Minute By Minute
08. True Spirit
09. El Paquito
10. Take A Step
11. Return Of The Genie
12. Beth

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Bobby Lyle - The Power Of Touch
SOUL + JAZZ | FLAC | CUE | LOG | 300DPI ARTWORK | 349MB | 52:31
Atlantic 1997

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The elegant funk pianist dresses up his elegant playing, catchy melodies and familiar funk leanings with rhythmic excursions to Latin America, Brazil and Africa. A sticker on the wrapping of the disc touts the pianist as one of the true pioneers of smooth jazz, but that tag oversimplifies his uniquely global approach. Certainly, an elegant cut like "Aruban Nights" and the easygoing, Will Downing sung cover of "Feel Like Makin' Love" fulfill adult contemporary radio's idea of easygoing adventure, but Lyle's percussive palette runs too wild to tame with such strict categorization. His travels include the opening track, "Timbuktu," with Lyle taking saxman Gerald Albright and guitarist Paul Jackson, Jr. into a thick, jungle soundscape provided by the throbbing basslines of Alphonso Johnson and free-for-all percussion by Kevin Ricard. Lyle flys solo to Brazil on the jumpy rhythms and seductive synth-piano textures of "3 Minute Samba," and, along with trumpeter Rahmlee and guitarist Doc Powell, provides a lilting Latin canvass for vocalist Kevyn Lettau's romantic lyrics on "A Moment in Time." Guitarist Phil Upchurch and Lyle's organ performance add bluesy touches to the new agey "Checkin'," whose synth washes float above soft spoken word passages by Adwin Brown. Lyle then recalls the slick urban vibes of his last album, Rhythm Stories, with a hard-driving, bass pumping "Jubilee," featuring the brash sax conversations of Wilton Felder (tenor) and newcomer Mindi Abair (alto). Contemporary jazz rap often gets a bad rap for being overly predictable, but Lyle edges towards being a true genre revolutionary on the most exotic track, "Midnight Creeper." Over bassist Sekou Bunch's thick and insistent groove, Lyle eschews the piano's melodic graces in favor of opening the lid of his instrument and using the strings inside as percussion instruments. He insists his explorations aren't all that newfangled, but anyone looking beyond traditional jazz masters and classical legends like John Cage might be hard pressed for a modern comparison. At least in the smooth jazz world. ~ Jonathan Widran, All Music Guide

Bobby Lyle - Fender Rhodes, Piano, Organ
Alphonso Johnson - Electric Bass
Wilton Felder - Saxophone
Mindi Abair - Saxophone
Mike Campbell - Guitar
Mike Daigo - Trombone
Jorge Evans - Guitar
Tommy Organ - Guitar
Andy Korn - Drums
Al McKay - Guitar
Sekou Bunch - Bass
Nathan East - Bass
Doc Powell - Guitar
Jerry Brooks - Bass
Lynn Mabry - Vocals
Larry Kimpel - Bass
Dwight Sills - Guitar
Paul Jackson - Guitar
Kevyn Lettau - Vocals
Will Downing - Vocals
Michael White - Drums
Phil Upchurch - Guitar
Melanie Taylor - Vocals
Michael Harris - Trumpet
Kevin Ricard - Percussion
David Satterfield - Vocals
Andre Roberson - Saxophone
Gerald Albright - Saxophone
Bashiri Johnson - Percussion
Stanley Benders - Percussion
Gerald McCauley - Synthesizer
Mikael Sandgren - Synthesizer
Alex Acuña - Drums, Percussion
Rahmlee Michael Davis - Trumpet
Ndugu Chancler - Drums, Percussion
Fernando Harkness - Flute, Saxophone

TRACKLISTING:
01. Timbuktu
02. Aruban Nights
03. Just Talk to Me
04. Interlude
05. Feel Like Makin Love
06. Jubilee
07. Checkin
08. Moment in Time
09. Steppin
10. 3 Minute Samba
11. Midnight Creeper
12. Inner Peace

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Charles Lloyd - Fish Out Of Water
POST BOP | FLAC | CUE | LOG | 400DPI ARTWORK | 249MB | 57:50
ECM 1990

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Fish out of Water was the first in a string of recordings Charles Lloyd made for ECM throughout the '90s and into the next century. As such, this album ended a long reclusive period for Lloyd and re-established him as a major post-Coltrane tenor stylist. Joining him and his new piano partner, Bobo Stenson, are Palle Danielsson on bass and Jon Christensen on drums -- the players who comprised the rhythm section of Keith Jarrett's famed European quartet. There's a serene, haunting quality to much of the music, particularly "Haghia Sophia" and "Tellaro," both of which feature Lloyd on flute (possibly alto flute on the former). The quartet picks up the pace on the swinging "Eyes of Love" and locks into a Coltrane-esque slow burn on "The Dirge." The title track contains some parallel major sevenths that recall "Forest Flower," Lloyd's most famous song. While some may find the disc a bit too placid overall, there's much to be said for Lloyd's unruffled, effortlessly bluesy playing. ~ David R. Adler, All Music Guide

Charles Lloyd - Flute, Saxophone
Bobo Stenson - Piano
Jon Christensen - Drum Kit
Palle Danielsson - Double Bass

TRACKLISTING:
01. Fish Out Of Water
02. Haghia Sophia
03. The Dirge
04. Bharati
05. Eyes Of Love
06. Mirror
07. Tellaro

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Charles Lloyd - The Water Is Wide
SAXOPHONE JAZZ | FLAC | CUE | LOG | PNG ARTWORK | 423MB | 68:28
ECM 2000

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Like 1999's Voice in the Night, The Water Is Wide features Charles Lloyd in the company of one of his dearest friends, drummer Billy Higgins, who would pass away less than a year after the album's release. Guitarist John Abercrombie also remains on board, but Lloyd extends the group's generational span by recruiting two younger players: pianist Brad Mehldau and bassist Larry Grenadier. The album begins with a straightforward, elegant reading of Hoagy Carmichael's "Georgia." Lloyd goes on to lead his ensemble through two lesser-known Ellington pieces, "Black Butterfly" and "Heaven"; Strayhorn's "Lotus Blossom"; two original ballads, "Figure In Blue" and "Lady Day"; and Cecil McBee's "Song of Her," a track from Lloyd's 1968 classic, Forest Flower. It's a glorious amalgam of sound: the leader's unique, glissando-laden phraseology, Mehldau's harmonic nuances, unerring rhythmic backbone from Grenadier and the majestic Higgins -- and only occasionally, pointed and eloquent guitarism from Abercrombie. The session ascends to an even higher level with the inclusion of two spirituals, "The Water Is Wide" and "There Is a Balm in Gilead." The latter features just Lloyd and Higgins, starkly setting the melody against a hypnotic drum chant. In addition, Lloyd's closing "Prayer," written for Higgins during a life-threatening episode back in 1996, features just the composer, Abercrombie, and guest bassist Darek Oles. (Oddly, Oles' credit is relegated to the fine print.) These tracks, most of all, resonate with personal meaning and profundity. ~ David R. Adler, All Music Guide

Charles Lloyd - Tenor Saxophone
Darek Oles - Double Bass
Brad Mehldau - Piano
Billy Higgins - Drum Kit
John Abercrombie - Guitar
Larry Grenadier - Double Bass

TRACKLISTING:
01. Georgia
02. The Water Is Wide
03. Black Butterfly
04. Ballade And Allegro
05. Figure In Blue
06. Lotus Blossom
07. The Monk And The Mermaid
08. Song Of Her
09. Lady Day
10. Heaven
11. There Is A Balm In Gilead
12. Prayer

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Charles Lloyd & The Marvels - Tone Poem
MODERN ELECTRIC JAZZ | FLAC | CUE | LOG | PNG ARTWORK | 435MB | 70:03
Blue Note 2021

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Charles Lloyd and The Marvels' April 2017 performance at UCLA's Royce Hall, with guest vocalist Lucinda Williams, was nothing but highlights—from Lloyd's dance moves across the stage as one or other of his bandmates soloed, to Williams' impassioned performances on such songs as Bob Dylan's "Masters of War" and Jimi Hendrix's "Angel." They also played a song by The Beach Boys. ("In My Room"). But the night really got going when the band played about fifteen minutes of Ornette Coleman material, shifting from a reverent version of "Peace" to an extended rendition of "Ramblin,'" the great rhythm-and-blues inflected song that Lloyd himself, in his short-lived mid-1960s quartet with Gabor Szabo, covered as "Goin' to Memphis," and which provided an occasion for Lloyd and his Marvels—Bill Frisell on guitar, Greg Leisz on pedal steel, bassist Reuben Rogers on bass, and drummer Eric Harland—to rock the rafters in an auditorium where, with an equally packed house, Coleman himself performed in 2010. As it turns out, Lloyd and the Marvels were warming up for 2021's Tone Poem (Blue Note), which kicks off with "Peace" and a shorter, but no less incendiary, rendition of "Ramblin.'" With the Marvels, Lloyd seems be circling back around the repertoire of his quartet with Szabo: on its first outing, I Long To See You (Blue Note, 2016) the former group played a sizzling version of "Of Course, Of Course," the title song of the Lloyd-Gabor unit's only album; while on Tone Poem, in addition to summoning "Ramblin'" / "Goin' to Memphis," Lloyd and company revisit Gabor's serpentine, restless composition, "Lady Gabor," which the two musicians first played near the end of their tenure in drummer Chico Hamilton's group and continued to perform live circa 1965, as documented on their recorded performances with Ron Carter and Pete La Roca, released as Charles Lloyd: Manhattan Stories (Resonance Records, 2014). None of the Marvels—an ensemble of all-stars—is a stand-in for members of Lloyd's 1965 quartet; nevertheless, Frisell and Leisz, with their stringed instruments, provide a tangle of sound in and out of which Lloyd's flute weaves, hypnotically, while Rogers and Harland deepen the song's rhythmic mysteries. "Lady Gabor" is the "Dark Star" of '60s jazz, but it might be more accurate to call "Dark Star" the "Lady Gabor" of psychedelic rock—especially since Lloyd also played Gabor's opus with his better-known quartet of the late '60s in mainstream rock venues and pop music festivals. The version on Tone Poem is not a throwback, however, but a renewal for the twenty-first century. Although Lloyd solos memorably on "Lady Gabor," on the title song, and elsewhere on Tone Poem, the sound he and the Marvels achieve doesn't rely on any one individual's playing. Lloyd can rivet this listener's attention by simply— simply—playing a song's melody line, as he does on a rendition of Leonard Cohen's "Anthem." There's music for everyone on Tone Poem; and by "everyone" that doesn't mean jazz listeners only, but every human being. ----Eric Gudas, All About Jazz

Charles Lloyd - Alto Flute, Tenor Saxophone
Eric Harland - Drum Kit
Bill Frisell - Guitar
Greg Leisz - Steel Guitar
Reuben Rogers - Double Bass

TRACKLISTING:
01. Peace
02. Ramblin
03. Anthem
04. Dismal Swamp
05. Tone Poem
06. Monk's Mood
07. Ay Amor (Live)
08. Lady Gabor
09. Prayer

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