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Review by J. Lund “jazzbrat”

The pre-release word-of-blog regarding POSSIBILITIES among a number of long-time Herbie Hancock fans has largely been suspicious of this album’s potential for bridging stylistic gaps among some, if not all of the album’s guests. And the Starbucks connection also left many seeing this as a marketing gimmick. Well, even if it was built to attract fans of the guests as much or more than Hancock, the bottom line is: does the music succeed as an effective reflection of Herbie’s strengths, as well as being a compatible showcase for the guests?

I would say the answer is usually one or the other, but only occasionally both. If you are a Hancock fan who wants to hear him to best advantage, you’ll have to satisfied on much of POSSIBILITIES with nice acoustic piano solos that sound overdubbed after-the-fact onto tracks he otherwise doesn’t seem to be much involved in. Roughly half the tracks fall into that category (including ones with John Mayer, Santana & Angelique Kidjo, and Jonny Lang & Joss Stone). Herbie seems more in the center of things on the other half, such as on worthwhile tracks by Sting, Paul Simon, Damien Rice & Lisa Hannigan, and even the Christina Aguilera cut works both sides of the fence quite well. Yet only on the final track “Gelo Na Montanha” is Herbie in the forefront from beginning to end. In my opinion, this CD would have been a more effective Herbie Hancock album if it had a 50/50 mix of the most successful vocal/piano collaborations with instrumentals that allow Herbie to be the star of his own show (ala recent Santana albums that were roughly a half-Santana, half Santana-with-guests split). Read the rest of this entry »

Review by brother_ike “brother_ike”

Having led The Impressions for longer than anyone can remember, Curtis stepped into 1970 and the solo spotlight with this, his solo debut album, and with it he brings a well of creativity and some serious hard fonk!

From front to back this album flows as a masterpiece, with strong rhythms and heavily muscled horns, including the awesome classic `Move On Up’ and the super tender and breath takingly beautiful `Makings Of You’.

An incredible stand out record of an incredible era, and things were just getting started! My recommendation is that you seek out the original album and not one of these shameful re-releases that tag on NINE songs of subpar material Curtis left on the cutting room floor, included by greedy record label execs. Read the rest of this entry »

Review by Reginald D. Garrard “the G-man”

…the “adventure” doesn’t occur until track #5 (”The Principles of Love”). The first four cuts, though tolerable, do not come up to the standard that makes Incognito so internationally reknown.

Thankfully, the rest of the album is the group’s trademark blend of R & B, Latin-flavored rhythms, and jazz. Strongest of the songs are the contemplative “This Thing Called Love,” the sensuous “Fences and Barriers,” the instrumental “Mindin’ My Business,” the cover of “Listen to The Music,” “Mr. Jones,” and “Beyond the Clouds.”

If the first four had been eliminated, the “sun” would really be shining a tad brighter; thus, only four stars for a five-star ensemble. Read the rest of this entry »

Review by Jazzcat “stef”
This album is a miracle. I could stop here and you have enough words to understand the level this album belongs to. I’m bored when I read reviews where people point out a music as too technical or stuff like this. This music is technical for sure but it is absolutly marvellous and totally blazing on the emotional level. This album is a trip. When I listen to this one sometimes I find myself unable to listen to nothing else for a while. Technique is not against emotions especially in albums like this one! If you are not skilled enough to appreciate the beauty these players produced here, please, don’t write reviews! This album is flamenco, jazz, classical, latin, it is simply three mindblowing musicians that united to produce the last word in acoustic guitar music and an unbelievable chapter in the history of music. But this album is not only incredible for guitarists, it is fantastic for everyone because the songwriting is amazing. The credits go to the three of them infact they choosed to record tunes from each one of them (two tunes each) and I can’t say which are the best!! And every tune is the perfect sequel to the one that preceed it. It seems as it has been written by one single pen. This cd is even a fantastic audio experience if you have a good hi end system. Even if the tones could be better, the dynamic is there and you can hear each player on a different channel, so you have John in the centre, Paco on the right channel and Al on the left channel. You can recognize easily their different styles. You can follow the dialogs they are having improvising on these marvellous tunes. I own this one since 1990 I guess. It still impress me for the technical abilities of the solos and the compings, it still amazes me for the songwriting skills of these guys, and delight me on the emotional level each time I decided to take it out the vaults. A gem. Read the rest of this entry »

Amazon.com
The influence of Cab Calloway simply cannot be understated. He was present at the genesis of R&B, rock, hip-hop, swing, and jazz, and his contributions shaped the way the world hears pop music. Thankfully, this task fell upon the zoot-suited shoulders of an artist of wit, intelligence, energy, and the ability to connect one-on-one with his audience. This collection includes tracks from the late ’30s up to the late ’40s and offers listeners a taste of all Calloway’s incredible talents. From his hepster raps like “Are You All Reet?” to his hits like “Minnie the Moocher,” Calloway’s performances are carefully orchestrated yet loose-limbed and sparkling with humor, and for recordings in mono, the sound is surprisingly good. Highly recommended. –S. Duda.

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Review by Joe Craig “Joe”
This is one of the James Brown classics that I really could just listen to end to end non-stop for hours. Start in the morning to get the day off to a groovy start, have lunch to it so the steady funk helps your digestion, chill in the afternoon hearing them sit on the one, and then in the evening get everybody dancing, coz don’t forget this is damn funky.
The sound here is very controlled, very tight, and sparse, but that’s just what you want from JB at his peak (and I do consider this to be his peak). Maceo’s playing here shines too - the rhythm, the motifs, the interplay with the rest of the band. In short, top stuff, and essential for anyone who thinks they ever might consider owning any James Brown (which really ought to cover everybody in the world). Read the rest of this entry »

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1. Puer Natus Est Nobis: Intriot (Modo VII)
2. Os Iusti: Gradual (Modo I)
3. Christus Factus Est Pro Nobis: Gradual (Modo V)
4. Mandatum Novum Do Vobis: Antiphonal And Psalm 132 (Modo III)
5. Media Vita In Morte Sumus: Responsorio (Modo IV)
6. Alleluia, Beatus Vir Qui Suffert: (Modo I)
7. Spiritus Domini: Introit (Modo VIII)
8. Improperium: Offertorio (Modo VIII)
9. Laetatus Sum: Gradual (Modo VII)
10. Kyrie XI - A: (Modo I)
11. Puer Natus In Bethlehem: Ritmo (Modo I)
12. Jacta Cogitatum Tuum: Gradual (Modo VII)
13. Verbum Caro Factum Est: Responsorio (Modo VII)
14. Genuit Puerpera Regem: Antiphonal And Psalm 99 (Modo II)
15. Occuli Omnium: Gradual (Modo VII)
16. Ave Mundi Spes Maria: Sequenza (Modo I)
17. Kyrie Fons Bonitatis: Trope (Modo III)
18. Veni Sancte Spiritus: Sequenza (Modo I)
19. Hosanna Filio David: Antiphonal (Modo VII)