Category Archives: Patti Austin

Rod Temperton: The Star Of A Story I Love So Well

rod-temperton

Rod Temperton is my personal favorite composer of the last four decades. The funk and disco era he was a part of is generally thought of to be all rhythm based-simply to make you want to dance. But along with people such as Stevie Wonder,Con Funk Shun’s Felton Pilate and Earth Wind & Fire’s Maurice White,Temperton showcased how to write funky music with very singable,jazzy melodic scaling and modulation. He is yet another one of those figures who not only inspired this blog itself. But also the entire way I listen to music. And probably how I’ll continue to listen to it.

Temperton sadly passed away on October 5th,2016. Sources say of cancer,at the age of 66. His family wishes to protect his privacy. Which is totally logical as he lived as pretty much of a recluse. He was born in post WWII Lincolnshire,England. He apparently described his family,particularly his father,parenting him more with a radio by his bedside than their own presence. That began his lifelong love of music. From spending time as a drummer,working in the office of a frozen food company in Grisby he continued his fascination with music. This eventually landed him in Germany as a keyboardist.

In 1974,he answered the personal ad of Johnnie Wilder for the new band his was forming called Heatwave. He  became the chief songwriter for the band-honing his craft with hits such as “Boogie Nights” and “The Groove Line”. This earned him the attention of Quincy Jones. He than became a household name as a composer for Michael Jackson,namely the song “Thriller”.This is what Temperton is best known for. He wrote with the Westlake Studio crew for The Brothers Johnson,George Benson,Patti Austin and maintaining a songwriting relationship with Heatwave until they stopped recording after 1982.

The late Johnnie Wilder described Temperton’s personality as possessing a good sense of humor and a friendly attitude. This naturally made him a good musical partner for Quincy Jones. The man composed so many funk/soul/dance classics in the 70’s and 80’s that it would be too long to go through all of them. So today,I’m going to run down only the Rod Temperton songs that personally moved me the most. And chances are,many of them are being played on a radio station in your town at this very moment too. And that level of popularity is part of what makes many of these songs so enduring and distinctive.


Heatwave

“Boogie Nights” (1976)

The very idea of putting a swinging drum/jazz guitar opening and closing to the Moog bass led funky disco of this song gave it a strong and thoroughly musical sense of continuity.

“The Star Of A Story” (1978)

This might very well be my very favorite ballad of the late 70’s. With it’s processed electric pianos and orchestral sonics,its essentially a jazz tune with some tremendous multi tracked harmonies from Johnny Wilder. It was such a strong song,George Benson covered the song two years after Heatwave originally recorded it.

“The Big Guns” (1982)

In a lot of ways,this song became the instrumental prototype for what Temperton would do with Michael Jackson on the song “Thriller”. What this has is a slower,more complex percussive rhythms,jazzy scat singing and even a synthesizer solo from Herbie Hancock.

The Brothers Johnson 

“Stomp” (1980)

Temperton really know how to compose melodies spacious enough for both vocalists and instrumentalists. This song does both as a collaboration with Louis (also deceased) and George Johnson. Its a total bass/guitar showcase of course. But it also allows space for George Johnson’s vocal leads as well.

George Benson

“Give Me The Night” (1980)

This song is instrumentally a fairly close cousin of MJ’s “Rock With You”. Difference being the rhythm is far leaner-allowing Benson’s different guitar and lead vocal/scat playing parts to be more prominent in the mix.

“Off Broadway” (1980″

Oddly enough I first heard this as incidental music on a rerun of SCTV. Its built around Moog bass and horn/string interactions-all allowing Benson to shine on an evolving solo on this fine instrumental.

Patti Austin

“Razzmatazz” (1980)

This is probably one Patti’s most vibrant uptempo songs. The song is very stop heavy with horns,strings,guitar,keyboards and drums all playing the high key melody and rhythm. On the other hand,its a dance funk masterpiece where everything seems to fit just where it needs to go.

“Love Me To Death” (1981)

This album track from Austin’s Qwest debut  Every Home Should Have One is a gurgling mid tempo jazzy post disco groove with a deep,liquid guitar riff. To me a wonderful example of the clean production,molten instrumentation and harmonically powerful melody.

Michael McDonald

“Sweet Freedom” (1985)

This sonically heady dance/pop song from the 1985 comedy Running Scared is a song I remember singing to when I was 6 years old. So whether I knew it or not,Temperton’s songwriting style was deeply impacting on me before I even knew who he was. It has all the hallmarks of his writing and production style-emphasizing a rhythmically heady uptempo number with vast (in this case more electronic) instrumental sonics.

James Ingram

“One More Rhythm” (1983)

This song from Ingram’s debut album Its Your Night has an extremely singable melody. And uses modern production touches such as bass synthesizers and dancable refrains to what essentially amounts to a big band swing jazz revival. One of my all time favorite Temperton compositions-showing his understanding of Quincy Jones’ outlook on the musical continuity of black America.

Michael Jackson

“Rock With You” (1979)

One of the songs that helped launch MJ into a popular musical force of the early 80’s,”Rock With You” has such mellow instrumental sonics (including bass from Rufus’s Bobby Watson) that this steamy uptempo disco pop groove seems more like a ballad. And that’s probably not an easy quality to achieve.

“Thriller” (1982)

This is of course the song Temperton is best known for. It sounds like it sprang from a late in the day Heatwave demo. Its led by light percussion,hefty synth bass lines and a brittle liquid rhythm guitar on its bridge. Instrumentally,its one of Temperton’s finest compositions.


2016 is reminding me of the fact that today,most casual music listeners are again associating songs with singers. That instrumentalists,arrangers and composers are often afterthoughts. That’s because of the non stop parade of death this year of big musical icons. On a happier note,the internet and newer documentary films are bringing the creative history of these icons to live on a broader level. For me,Rod Temperton is such an artist. I could mention him in the same sentence as Nat King Cole and Burt Bacharach as one of the greatest mid/late 20th century musical composers.

 

 

 

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Filed under 1970's, 1980's, Brothers Johnson, Funk, George Benson, Heatwave, James Ingram, Michael Jackson, Michael McDonald, Patti Austin, Quincy Jones, Rod Temperton, songwriting, UK

Grooves On Wax: 1-9-8-4 Albums And 12″ Inch Singles

Ghetto Blaster

1984 was far from the Orwellian dawn of “big brother” in reality. As a matter of fact,artistic expression was such a diverse blend of older and newer influences. Music was feeling this most heavily. Synthesized new wave and electro styles had taken over in a major way. Yet there were still many live instrumental post disco/boogie funk offerings where electronics were mainly there as an accompanying sweetener. As much as many seem to dislike it,the Crusaders Ghetto Blaster is a superb example of this. It has both their strong live camaraderie and many of the newer synth funk elements as part of their brew.

Key Jams: “Dead End”,”Gotta Lotta Shakalada”,”Night Ladies” and “Zalal’e Mini”

Junie

This solo album by Walter Junie Morrison is one I’ve had since I started crate digging heavily in the late 90’s. And knew his name only because of his involvement with P-Funk. In keeping with mid 80’s recorded P-Funk,this album has a very pronounced electronic flavor-especially considering P-Funk helped pioneer electro funk to start with.

Key Jams: “Stick It In” and “Techno-Freqs”

Shalamar

Post disco veterans Shalamar went totally Minneapolis on their first album following the departure of Jeffrey Daniels and Jody Watley. Keyboardist/songwriter/singer Delisa Davis and guitarist/songwriter Micki Free (later referenced as part of a gag on the Dave Chappelle show about Prince and Charlie Murphy) give the album a more thoroughly electronic sound,yet filled with Shalamar’s customary melodicism.

Key Jams: “Dancing In The Streets” and “Melody ( A Melodic Affair)”

Human League

Human League are an excellent example to me of how many synth pop/new wave bands of the early/mid 80’s made very funk/soul structured music. Especially with the advent of the equally new wave/synth pop oriented funk of the Minneapolis sound during this same time. This was certainly their most danceable,funky and pop oriented record they had yet made. And with the production of Jam & Lewis right around the corner,it would only get even more so from here.

Key Jams: “Rock Me Again (Six Times)” and “The Sign”

Patti Austin

Patti Austin’s sophomore album for QWest  is a very different musical affair than her first from 1981. This album featured writing from Narada Michael Walden,and many of his musicians along with Quincy Jones. Overall the album generally has a more synthesized new wave rock flavor to it,especially on the first half. On the flip side however,Austin’s soulfulness and jazziness is given much more musical space to work with.

Key Jams: “Hot! In The Flames Of Love”,”Shoot The Moon” and “Fine Fine Fella (Got To Have You)”

One Step Closer

The Dells were a group I was first exposed to through…well my first exposure to vinyl collecting in 1994 when the local college radio station WMEB was giving away all their vinyl for free-seeing no future in the format (little did they know). From what I know of them now,this mildly jazzy boogie funk album is not the sound that The Dells are generally known for. But its still an excellent mid 80’s comeback for this classic Chicago soul group.

Key Jams: “Love On”,”Come Back To Me”,”Don’t Want Nobody” and “Jody”

Bonnie Pointer

Bonnie Pointer’s third (and until 2011 final) solo album was revealed to me as being a main cause of her retirement from music. Considering her personal situation,that is likely untrue. And its an unsung album at that since it very much mirrors the strong focus on electro funk and soul that her other three sisters were doing at the time. Of course in this case,with more of Bonnie’s own flavors added to the mix.

Key Jams: “Your Touch”,”Johnny” and “Tight Blue Jeans”

Windjammer II

Windjammer are a fairly obscure post disco band,who recorded three albums on MCA records between 1982 and 1985. This is their second album. This New Orleans based band had a musical approach similar to  Earth Wind & Fire,Con Funk Shun and Heatwave. That is in the sense that they emphasized a blend of strong vocals,melody,arrangement and top shelf musicianship in their mixture of funk and soul ballads. Makes me wonder what forces didn’t allow this very commercially viable group to take off they way they deserved to.

Key Jams: “Call Me Up”,”You’re Out The Box” and “Sneak Attack”

Shannon

Shannon’s “Let The Music Play” has become something of a classic in what is referred to as the Latin freestyle genre of techno dance music. That is blending synthesizers and drum machines with percussive Afro-Latin rhythms and melodies. And there’s no way I’ll disagree with that. Still this album isn’t one that generally lets up on the party atmosphere either-adding only the occasional slow ballad to change things up.

Key Jams: “Let The Music Play” and “Give Me Tonight”

1984 were a tremendous year for 12″ inch singles. One that I recently got a hold of was the one for the Jacksons’ 1984 song “Torture” from their  Victory album. The extended remix really brings out that funky synth bass pulse on the intro,which is also prominent on the instrumental version on the flip side.

Interestingly enough,one of these singles is just a 7 inch 45. And its for Sade’s ‘Hang Onto Your Love”. For me anyway,that particular song needs no introduction for its stripped down sophistifunk vibe. I brought this because it had a non album flip side called “Should I Love You”,which turned out to be a melodically sunny pop/funk uptempo number of the highest order.

Herbie Hancock really got the “electric Afro-pop” sound flowing on his 1984 album Sound System. And this 12″ incher for its song “Metal Beat”,given to me for my birthday one year by Nigel Hall,really emphasizes this aspect with the very tribalistic aspects Hancock and Bill Laswell bring to this extended dance mix.

“The War Song” is one of my favorite Culture Club songs. It blends their Caribbean soul/funk sound with a social message that sounds silly on the chorus,but during the refrain becomes quite dramatically poetic. This single is very interesting is that each extended mix it has,from vocal to instrumental,bring in an strong sense of Afrocentric tribalism as each progresses.

The first time I heard The Police’s Andy Summer’s remake of “Also Sparch Zarathustra” was on a local cable access music video program hosted by local DJ Chuck Foster in the late 90’s. The video to this song was once used on the closing credits for that show. Being a lover of science fiction and the two films in Arthur C Clarke’s “space odyssey” series,Summer’s dance/funk remix really caught my ear. The flip is the brittle new wave rock of “To Hal And Back”,which a very strong jazzy melody to it.

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Filed under 12 inch singles, 1984, 45 records, Also Sparch Zarathustra, Andy Summers, Bonnie Pointer, Culture Club, electro funk, Herbie Hancock, Human League, Human Leagye, Let The Music Play, Patti Austin, Sade, Shalamar, Shannon, The Crusaders, The Dells, The Jacksons, Vinyl, Walter Junie Morrison, Windjammer

Anatomy of THE Groove: “Razzamatazz” by Patti Austin

Harlem born Patti Austin actually had a couple unique musical careers before her 70’s and 80’s breakthroughs. She was singing at the Apollo by age 4,and had a recording contract with RCA a year later. After her career as a child star,she became a teen queen of the commercial jingles during the mid to late 60’s. During the 70’s she began her career as a backup singer for Franki Valli and The Four Seasons as well as Japanese fusion artist Yutaka’s debut album in 1978. By then,she’d already recorded two solo albums of her own in End Of The Rainbow and Havana Candy.

First time I ever heard of her was through her work with Quincy Jones in the late 70’s and early 8o’s.  Big examples would be songs like “Its The Falling Love” and “Baby,Come To Me” from 1979 and 81-duetting with Michael Jackson and James Ingram respectfully. Austin has a plaintive tone and elastic vocal range. This alternating voice makes her adept in jazz,funk and pop. One of the few versatile singers with a truly distinctive style to her that I know of. One of her shinning moments was on Quincy Jones 1981 album The Dude in 1981,where she sang frequently throughout. The name of the song is “Razzamatazz”.

Greg Phillinganes,Steve Lukather and Herbie Hancock start off the song with some viruosic electric piano/guitar interaction before Jerry Hey’s horn blasts get the song going. The refrain consists of Hancock’s electric piano,Lukather’s rhythm guitar and the drum/Moog bass of Rufus’s John Robinson and David Hawk Wolinski. On the choruses,Phillinganes adds his own melodic synthesizer touch. There are three different bridges here. One showcases the horns and Paulinho Da Costa’s percussion,the other reduces down to Phillinganes synth solo,and another is Lukather soloing over the refrain.

The song itself actually fades out on its second refrain. Patti Austin really gives her all on this song. This Rod Temperton composition is a very busy number,with a thick sophistifunk groove encompassing a number of powerful musical ideas. Especially its brittle,boogie funk juxtaposition of live horn arrangements,percussion and synth bass. On the second chorus,there’s an entire symphony of multi tracked Patti Austin’s singing the line “make it better with a little bit of razzamatazz”. Its a very melodic jazz/funk/post disco number whose energy level truly lives up to the exciting sound of its title.

 

 

 

 

 

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Filed under 1980's, Boogie Funk, David Hawk Wolinski, electric piano, Greg Phillinganes, Herbie Hancock, horns, jazz funk, Jerry Hey, John Robinson, Patti Austin, Paulinho Da Costa, post disco, Quincy Jones, rhythm guitar, Rod Temperton, Steve Luckather, synth bass

Anatomy of THE Groove: “The Dude” by Quincy Jones

Quincy Jones has been on my mind a lot lately when thinking about music. Last week in fact,my friend Henrique pointed out something he read on the back of a vinyl album about how important Quincy was to the jazz world in general. And this was at the height of his career no less. From being mentored by Clark Terry in the 1940’s up to helping shape up and coming hip-hoppers 60 years later,the evolutionary nature of Quincy’s career had me wondering how to present his music here today. The question was would it be good to express that musical arc by overviewing several songs from several decades,or focus on one song that might tell it’s own kind of story about Quincy Jones.

Last year at this time,I posted up an older review I had done for the 1981 Quincy Jones release of The Dude. Albums released under his own name always had a specific flavor to them. For example,his early albums showcased him largely as an instrumental band leader. His releases since the 70’s have generally been showcases not only for his evolving production approach,but also with the different musicians and vocalists he was involved with or mentoring at the given time. In the case of this early 80’s album,the spotlight was on James Ingram and Patti Austin. And the title track of the album said so much about where the classic Quincy Jones sound was going to be at that time.

A pulsing,nasal synthesizer starts off the song before the drums and horns kick in. This is accompanied by opening backup that includes Syreeta Wright and Michael Jackson among a massive chorus. The horns lead into a stripped down percussion break  that’s accented by a slow crawling drum beat-over which a bluesy Fender Rhodes plays the lead keyboard line accented by Louis Johnson’s slap bass lines. The refrains start off with Austin and Ingram trading off vocals along. with Michael Boddicker’s Vocoder. Quincy himself provides a rap as the title character on several choruses after which the horns the male backup singers provide an accompanying chorus.

On the third of these choruses, the backup chorus led along by Austin sings a swinging variation of the chorus. Steve Luckather comes in to play a wah wah pedal heavy guitar line that mimics the low volume,bluesy solo on the Yamaha CS-80 synthesizer that comes out of Stevie Wonder on the bridge,which basically repeats the melodic theme of the refrain. After this the fanfarring horns that generally introduce Quincy raps instead segues into Austin’s swinging vocal choruses. There’s a repeat of the refrain after this. And the song fades out on a repeat of the chorus. Only on this one,Ingram accentuates the lyrics vocally before the song comes to an end.

Getting back to Quincy’s varied musical career,there are many qualities in this song that sum up everything he had done in his then nearly four decades of creative activity. The classic Westlake studio crew including drummer John Robinson,percussionist Paulinho Da Costa,trumpeter/arranger Jerry Hey and of course Louis Johnson play on this number. On the surface,this song written with Patti Austin and Rod Temperton has that sleek west coast production matched with the deep funk groove Quincy had been perfecting over much of the 1970’s. On that level,it’s alternately stripped down and boisterous depending on the mood the song is trying to project at a given time.

On the broader level,this song totally epitomizes the musical evolution of Quincy thus far. The accessory vocal harmonies on the chorus reflect the big band swing era as do the horns. And Stevie Wonder’s synth solo additionally brings the flavor of the blusiness that came from jazz to rock ‘n roll and onto funk and soul as well. The character of “The Dude”,represented as a stone sculpture on the cover and later to become Quincy’d mascot for his media production company,is basically an elder statesmen whose philosophy could be summed up by him stating “don’t put your moth around a check that your body can’t cash”. In this instance for me,this is Quincy’s most defining song overall up to this point.

 

 

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Filed under 1980's, big band swing, blues funk, Fender Rhodes, horns, James Ingram, Jerry Hey, John Robinson, Louis Johnson, Michael Jackson, Patti Austin, Paulinho Da Costa, percussion, Quincy Jones, QWest, rap, Rod Temperton, slap bass, Steve Luckather, Stevie Wonder, synthesizer, Uncategorized, vocoder, wah wah guitar, West Coast

Andre’s Amazon Archive for 3/21/2015-‘Give Me The Night’ by George Benson

Give Me The Night

Quincy Jones was not only a busy man during the late 70’s and early 80’s but was also something of a musical Rumpelstiltskin-almost mysteriously able to spin straw into gold,only doing so with music. And I’m not talking about in the commercial sense either. With all the ingredients present,from engineering master Bruce Swedien to of course equally masterful composer Rod Temperton-not to mention the mega session approach Q was so famous for by bringing in Herbie Hancock,Louis Johnson,Richard Tee,Greg Phillinganes,Lee Ritenour (yes it’s even better than it sounds) this album was already set for greatness. Not to mention the star of the show George Benson. Already at the top of his game before this making excellent albums in varied styles from White Rabbit all the way up to Breezin,this album by it’s nature,pairing George and Quincy Jones came off looking like a musical miracle just waiting to happen. Interesting part is,as good as that sounds already it actually gets BETTER than even that!

I look at this album the way I once heard EWF’s music is described. On this album George plays funk sweet as funk can be. Not the sugary or saccharine type of sweet. But the sweetness of clean,bluesy jazz playing and some of the most inventive jazz-funk compositions imaginable. “Love x Love” is a perfect example-sleek and crispy at the same time with a groove that’s spare but glossy all at once. Of course many of us know the title song,of course right there in the same wonderful place. Than again,so it’s “What’s On Your Mind”,the instrumental “Dinorah Dinorah” and “Midnight Love Affair”. These bring to mind something of a cross between MJ’s Off the Wall meeting up with the a Crusaders albums such as Street Life-definitely high strutting uptown urban sophistifunk of the highest quality. And we’re not done yet! “Off Broadway” is deeper,heavier funk with this defining bass moog-one of the best productions jobs I’ve ever heard and my personal favorite number on this album (actually up there with the title song). And of course he’s at his same slinky best on slower numbers such as his famed jazzy take on “Moody’s Mood” and the extremely sensual “Love Dance” and “Turn Out The Lamplight”. Not to mention the level he takes Heatwave’s “Star Of A Story”. These are cosmically arranged pieces with decidedly adult takes on romance. And it all makes up for one killer album!

As great as this album is creatively,the amazing thing about it is that it hit as much commercial paydirt as anything Michael Jackson or any of the other Qwest releases of this era did. It’s the middle of that Quincy Jones 1979-1981 sandwich that starts with Off the Wall and ends roughly with Patti Austin’s Every Home Should Have One. And the most wonderful thing about it all is that this is one of the more thoroughly musical of the three albums-the other two of which concentrate heavily on songcraft and vocal performance. This one does just the same way. But the focus is very much on George’s playing and singing. And those are two talents he always had to his advantage. There’s aren’t many artists in any genre who can play an instrument and sing quite with the amazing quality as George Benson does. He’s definitely one of those “everything” men who can do them both and both very well. And even though the coming decade would be filled with some equally huge musical highs and lows due in part to the enormous success this album earned him,he’d be able to learn a lot from albums such as this later and realize the creative ingredients that…well really make the best music commercially as well.

Originally Posted On October 9th,2011

Link to original review here*

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Filed under 1980's, Bruce Swedien, Crusaders, George Benson, Give Me The Night, Greg Philinganes, Herbie Hancock, Jazz, Jazz-Funk, Lee Ritenour, Louis Johnson, Michael Jackson, Patti Austin, Quincy Jones, Richard Tee, Rod Temperton

Andre’s Amazon Archive for 3/14/2015: ‘The Dude’ by Quincy Jones

The Dude

I’m sure there are a lot of people out there who would look back on this album who’d feel something of a guilt complex for liking an album whose musical virtues lay so heavily in it’s production. Sad to say even….a member of my family who I won’t name out of respect didn’t find this album particularly to their liking for a long time. Perhaps one of the reasons why this album has such a different reputation is that it represents a somewhat different Quincy Jones than the one who recorded Sounds & Stuff Like That several years earlier. That was a recording that owed a great deal of it’s musical energy to funk and R&B.

This on the other hand showcased a lot more sleek urban contemporary pop considerations and in the end sounds perhaps like a slightly more commercial record that Quincy had done up to this point. This was released around the time of Mike’s Off the Wall,Johnson’s Light Up the Night and Patti Austin’s Every Home Should Have One. If your already fully familiar with those three albums, than it may not be too necessary for you to read this review since you already sort of know the sound of it. For those who aren’t,here’s what this is.
One of the singer/songwriter/instrumentalists who caught Quincy’s ear around this time was England’s Chas Jankel from Ian Dury’s Blockheads. His debut Chas Jankel contained a song called “Ai No Corrida” that is presented here and,while not as musically abstract it is more “Quincified” along with the lead vocals of Charles May who takes the very British vocal affectations of Chas away from this version. The title song is the most thoroughly funk oriented number here with a stomping beat,bassline and keyboard solo with Q himself rapping as “the dude” along with an artist Quincy was at the time just in the process of developing-James Ingram.

The multi talented singer/musician/songwriter is featured on the slower ballads here such as “Just Once” and “One Hundred Ways”,which without surprise became the biggest hits. But they’re actually far from the best songs. Those were sung by Patti Austin. “Betcha Wouldn’t Hurt Me” and the compulsive “Razzamatazz” are both key uptempo songs here with a vibrant sophistifunk sound to them. “Somethin’ Special” is a similar but slower sort of song,maybe even a little more jazzy and another highlight with a rather adult romance audience in mind. “Velas” is a similarly themed instrumental featuring one of Q’s old hands Toots Theilmans on harmonica and whistling. There were stories I heard that the closing dance funk of “Turn On The Action” was originally intended for Michael Jackson. And honestly it does rather sound like him.

Believe it or not,a persons appreciation of this album will probably have to stem from whether they really take the urban contemporary jazz-sophistifunk sound of the early 80’s very seriously. Coming during the first years of the post disco era,where music of a certain rhythmic and racial signitures couldn’t be played on a lot of radio stations this along with similarly style albums during this time by people like Grover Washington Jr,Al Jarreau and Michael Franks also receive a similar treatment as being at best “a guilty pleasure” and as worst “a sell out”. Honestly I have absolutely no guilty feelings whatsoever in the level of enjoyment I have for this album.

If your a fan of edgy,angst ridden albums filled with a “keeping it real” attitude or something with a variant of hip-hop or neo soul rhythmic pattern to it…no I’d have to agree this album probably isn’t going to be your cup of tea. Whenever you have the level of production,musicianship and songwriting/vocal power you have with something like this it’s from a time and a place where the musical approach was very different. And above all being done by a whole other generation as well. No putting down anyone. But there’s just a different spirit behind this than much of…well even what Quincy himself is currently doing musically. And happily many people in the music world are still paying careful attention to works such as this.

Originally posted on November 6th,2011

Link to original review here*

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Filed under 1980's, Brothers Johnson, Chas Jankel, James Ingram, Jazz-Funk, Michael Jackson, Patti Austin, pop jazz, Quincy Jones, The Dude, Toots Theilmans