40 Results for : danceable

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    Mind The Gap
    Lbfe is an original rock band out of CT. Mind The Gap is Lbfe's first ablum which features Rock basic Rock music with a flare towards funk with some off shoots clinging to danceable beats. Protest/politically targeted music.
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    Bitter Blood
    Review from Chart Magazine (4.5/5) Their old group The Blood Lines may have disbanded, but brother-sister duo S.J. and Maygen Kardash are continuing the family theme with their new project, Violent Kin. Their debut album, Bitter Blood, draws on more influences than it's simple 'pop' tag on iTunes suggests, combining electro with garage rock, acoustic and even funk. The album's title track is it's strongest - think baroque-sounding '70s rock, a la Jack White's The Raconteurs. Boy-girl harmonies and bird noises(!) sweeten the track's repeated refrains. 'Feverish Cold' is gorgeous and melancholy, with echoed drum rolls on timpani, synth-produced wind sounds, and the occasional bell. 'Blue Eyes' and 'Call You Out ****' feature danceable choruses sandwiched between serious verses. Funky guitar, bass and drums on 'Bury Your Secrets' complement layered vocals and dreamy keyboard riffs. 'Let Go And Let God' hearkens back to early '90s lo-fi with it's distorted vocals and fuzzy guitars. The track also features a chilling brass solo. The band continue the '90s feel with 'No Security' and 'Please' - both reminded me of Nada Surf with their poetic lyrics and tender vocals. The record ends with 'Electrons,' a slow jam that leads to an instrumental climax with a bluesy guitar solo and more brass. Bitter Blood is an admirable first record that oozes with sibling synergy. It'll make you want to hit repeat over and over. -Bianca Marcus.
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    Atmosphere
    Soulful twenty-first-century folk music for earthlings: by turns danceable, passionate and playful. A love song to the air we breathe, tributes to pirates, witches, mermaids and ghosts--and to love that lasts.
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    Inflation
    Ricky Ginsburg - Percussion/vocals Todd Rourke - Bass Guitar/ Vocals Dan Dronseiko - Guitar/Vocals Brian Horan - Drums/ Vocals Growing up more or less around the corner from one another in the middle class Boston suburb of Chelmsford, Ricky Ginsburg, Todd Rourke, Dan Dronseiko, and Brian Horan had no reason to suspect that as childhood ended and decision time came calling they'd find themselves thrown together into the most creatively fulfilling and challenging pursuit of their lives. Three Percent, a band that came together around Ricky, Todd, Dan, and Brian's mutual respect for each other's musicianship as well as a collective desire to aggressively reach out to people with their music, may have initially evolved out of Ricky and Dan's experiences playing together in high school bands, when the two of them were into punk, metal, and the harder side of rock. But by the time the duo had returned to Chelmsford after a year of college in the summer of '97, their musical horizons had expanded exponentially, and by the fall of that year they'd hooked up with two like-minded players, bassist Todd Rourke and drummer Brian Horan. And out of those initial jam sessions grew a chemistry that was based on placing no limits on where they might head musically. 'We all were influenced by the Beatles, the Dead, and Phish,' Ginsburg points out, 'And I think that's what put us over the edge. Some of the guys might shy away from openly admitting that we're part of any jam-band scene, but what really inspired me personally was when I went to my first Phish show and my first Dead show and saw all these bands doing it on such a large scale without the help of MTV or radio play. I think all of us went to a big show that influenced us and inspired us to form this band. We didn't want to mess around: we were into how many people can be moved by all this.' Like all good bands, though, Three Percent started off small, building an organic following through countless club gigs in and around Boston. They opened for bands like Gruvis Malt, Acoustic Junction, Ominous Seapods, and even played a Ralph Nader Convention event at the FleetCenter. They released a three song demo in the fall of '99 and followed that up with a 10-song full-length tilted Cobblestone Interstate in 2000. Local radio shows like WBCN's Boston Emissions, and college stations like Emerson's WERS helped spread the word, while Three Percent continued to develop as a band with no borders - a foursome equally capable of writing a Beatlesque hook and of embarking on fluid extended jams. 'We're a rock band, but we also do a little bit of funk and bluegrass,' Ginsburg explains. 'We even do a little bit of trance. We don't incorporate electronic elements but we do incorporate house beats, and our guitarist is pretty expansive. The result is something like disco meets funk meets trance and house in the format of a rock song. It's upbeat, goodtime, danceable music. I mean, the way we looked at is is that there are a lot of jam bands that try to be good song writers. But I think we were good songwriters to begin with, who just happened to want to be expansive and to incorporate a lot of styles.' With five years of hard, yet enjoyable work under their belts, building the kind of trust and determination it takes to make the leap to the next level, Three Percent headed back into the studio to record a followup to Cobblestone Interstate. The result, Inflation, is a fully realized document of four unique players operating at the top of their game, a disc that captures all of the elements that have made Three Percent such a consistently exciting live band. 'Call Before You Leap,' the disc's second track, is a refined, hook-laden testament to Three Percent's songwriting skills, with it's defined verse/chorus/verse structure, sharp edged guitars, and affecting lyrics that reveal Bassist, Todd Rourke's deep romantic streak: 'I work hard everyday/ Just so I can play/Leave me alone and I'll just keep singing the song everyday in my own fantasy.' On the other hand, 'I Wonder If We're Still Alive' opens things up for a full seven minutes that focuses less on individual showboating solos then on locking into a shifting danceable groove. And 'Caterpillar,' the disc's closing number, breaks all the rules by playfully marrying a countrified bluegrassy feel to a trancey refrain that gives guitarist Dan Dronseiko a chance to display his Robert Fripp-like talent for generating unique textures with his instrument. Inflation may be the culmination of something special that started in a practice space in Chelmsford back in '97, but it's certainly not the end of the road for Three Percent. If anything, it's just another step along the way to moving the mass audiences that this music is clearly capable of reaching out to. And it's further proof that when the right group of players find one another and continue to challenge each other along the way, there's no way to put a limit on what they're capable of achieving.
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    Wigglesticks
    WIGGLESTICKS is the second CD by this Texas songwriter. It is another galloping romp through the imagination of a perceptive witness to the human condition. Enjoying a somewhat detached perspective when it suits him he plays with metaphors that strike his funnybone. But his musical background is diverse enough such that he will pivot after a humorus track and deliver a blistering bluesy testament, update an old country gendre, delve into the realm of the soap opera, the folk tale, or go jazzy pazazzy with his stratocaster. This is a singing guitar player who does not like to be classified or restricted. He is here to enjoy making music and share the experience. This is danceable, listenable, funny, provactative, and emotional stuff.
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    Talent for Loving
    Romance is on her way to the discothèque and she's on the arm of Norman Kelsey. Norman's got a T.A.L.E.N.T. and he's going to share it with you. Put on this CD and get ready to party like it's your best night... ever! In Summer 2008, Norman Kelsey will be rocking select markets across the USA to promote his debut LP "A Talent For Loving." In May of '08, Norman played several dates in the UK, including two shows in the historic Cavern Club. Norman Kelsey is a charismatic singer-songwriter based in North Hollywood, CA. Born in Cleveland Ohio, raised in Jacksonville, FL, his influences range from Prince to Franz Ferdinand. With personal favorites like Michael Jackson and Martin Fry of ABC, Norman's sound is reminiscent of 80's new wave R&B. Kelsey alternates singing in a rapturous falsetto and with James Brown-inflected grit. As lead singer of Rush Hour Soul, Norman toured the UK in 2006, a barnstorming trip that brought sunshine and funk-rock to the North of England. He filmed the promotional music video for the title track in London with director William Archer. In 2007, Norman recorded his solo debut on two continents with producers Adam Marsland (Lincoln Lounge, Venice CA, USA) & James Rix (Monnow Valley Studios, Monmouth Wales, UK). The disc is forty minutes of sexy dance-floor fillers, heart-stopping slow jams and a terrace anthem about universal love. Now, get the disc while it's fresh from the funk factory. Norman's Vitals! Birthplace: Cleveland, Ohio Birthdate: 6 Feb Eyes: Dark Brown Height: Taller than most, shorter than Shaq Favorite CD: Parade by Prince & The Revolution Favorite Snack: Twinings Everyday Tea and Lotus Biscuits Favorite American Football Team: Cleveland Browns Family Connection: His Dad is the actor/playwright, Herb Kelsey from Harlem, NYC. Norman Kelsey is currently unsigned, seeking management and a record deal. For more reviews, artist profile, and to interact with Norman Kelsey, please visit his official website: normankelsey.com Below are three complete album reviews: ### REVIEW BY CHRISTEL LOAR from PopMatters.com: Norman Kelsey's A Talent for Loving is a non-stop, dusk 'til dawn party. From the opening beat of the title track, which is both boastful and believable, to the closing command of "Love Someone", Kelsey takes you from the bar to the dance floor to the bedroom and back again several sweat-soaked times. He's a soulful R&B powerhouse vocalist, and he's somehow managed to combine perfectly some of the best elements of '60s-era soul and Motown with a sense of style and command not seen since Prince was at his funkiest. Tracks like "Done Lost My Mind" highlight Kelsey's slow, seductive, soul skills, while songs such as "Fall Out" will, as the chorus says, "Rock you so hard / We falling out of your bed." No worries if you're all alone, either. A Talent for Loving will have you dancing your ass off all night, flying on a rhythm-induced endorphin high. Rating: 8 out of 10 13 May 2008 ### REVIEW BY BOB DAVIS from Soul-Patrol.com: 'Norman Kelsey's album is what I would expect the 'first Lenny Kravitz album' to sound like. It's full of better than average rock, soul, funk, pop songs. Simple 3 minute songs with hooks, that you can bop down the Boardwalk to while you snap your finger. It's also got a few GREAT songs, that would be automatic hit records if they could be heard by the masses. And it shows a hell of a lot of potential for the artist himself to become a 'universal fusion artist.' It's the kind of an album that you can put on, leave on and think that you are listening to a Top 40 radio station from back in the day, playing a diverse set of music that somehow all 'works together.' The album as a whole reminds me of hanging out at the beach all summer and hearing great summer songs coming out of tiny transistor radios, from Memorial Day to Labor Day, that get played on BOTH the Black stations and the white stations. Buy this album now, it gets better and better with each listen, but wait till the summertime to play it for your friends, so that they can become hooked on this album, and not even realize why.' ### MICHAEL JACOBSON'S REVIEW COURTESY OF AUTHOR: Album **** For years now, Norman Kelsey has been a shining star in the Los Angeles music scene as the charismatic frontman of bands such as Bat Country, Rush Hour Soul, and Idle Kings. He has toured the world bringing his unique style of funk-infested pop and rock to fans on both sides of the Atlantic. One might say he owes his fans a love letter. A Talent for Loving is just that. Breaking free from the confines of a group setting, Norman has finally chosen to step out on his own and release his first solo CD, and A Talent for Loving trumpets his arrival with bravado and confidence. The singer, songwriter and bassist has been honing his chops and finely tuning his sound, which is a delightfully tight cornucopia of influences mixed into something new, fresh, and real. You might hear a little Prince, a little James Brown, a little Chic, a little Motown, a little Beatles, or a little Lenny Kravitz. These artists may provide an ingredient or two, but the soulful, danceable, soaringly harmonious end recipe is all Norman. But wait...I know what you must be thinking. In this age of the easily-downloadable single, why take my word for it that the album is a good as that? Maybe purchasing entire CDs has become too 90s for today's music fans. That's fine...then allow me to steer you in the right direction. If you want to sample it using DigStation, let me recommend the first song and title track. 'A Talent For Loving' was named the catchiest song at last year's International Pop Overthrow festival when Norman played it in London, and you'll see why. The sharp, jangling guitars and infectious hook will stick in your head, as well as get your feet moving. Now doesn't it feel good to cut loose and dance? Then why not keep your groove going? Download 'U Had the $' and the party won't have to stop. Norman's punchy bass line, combined with his impeccable harmonies and a snappy guitar will make sure your party doesn't have to stop. In fact, you can keep it going with a perfect trifecta of dance rock tunes. Download 'Sucka' and let the funky wah-wah guitars call you back to the floor, even if it's only the floor of your own house. Whew...that's a lot of energy for just three songs. By now, you might be needing a bit of a cool down. Download 'Everything My Heart Desires'. The CD's first ballad has a soaring chorus courtesy of Norman's amazing voice that seems to reach the stratosphere as he professes his love. It's a 70s groove made modern, and such a beautiful tune that my fiancée and I are actually planning to have our first dance to it at our wedding next year. Now that you're in the mood for romance, no need to stop there. Download 'Done Lost My Mind' for a gentle, open proclamation of sentiment. Get that arm of yours around someone you love and let the music guide you to the next level. But you shouldn't let the moment pass too quickly just because a song only lasts four minutes or so...be prepared, and download the spectacular 'Love Someone', the album's finale, to make sure your night doesn't end too quickly. Feels great, doesn't it? Time for a little post-romantic encounter pick-me-up. 'Everyone's Ingénue' is the perfect download. The Stones-esque guitars and hook will put a smile on your face, and the beat will get you back into the groove. No need to stop there...keep it going. 'Fall Out' is a crisp, punchy slice of funk and soul that will have you moving again, and if you're really feeling it, 'Roosevelt's Revue' will top off a perfect evening of fun and romance. After that, you might as well enjoy a nightcap...I always like a little pure rock to wind myself down to, and if you're like me, you'll want to download 'Down By Love' and 'I Can't Cry For You', two songs that prove Norman is an artist as comfortable in rock as he is in soul. By now, you've downloaded the enti
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    Reencuentro
    (Spanish message) Trabajar con NEYZA es muy gratificante y crea una satisfacción por el hecho de que cualquier melodía que ella interpreta, eleva la calidad del tema o canción en desarrollo. También fue la búsqueda tanto de patrones musicales tradicionales y a la vez de cosas innovativas que finalmente queda en esta producción, plasmada, la amistad y la expresión personal en la interpretación de cada músico y artista. Disfruten de este reencuentro con NEYZA Hector Meriles A. Director y productor general. (English message) REENCUENTRO The new international CD from NEYZA was recorded in Bolivia and Norway and mastered in USA.It bring the flavors of Bolivia's carnival with rich instrumentation and wonderful danceable rhytms all led by the strong and clear vocal of NEYZA. This music is passionate and it makes me smile. All my best wishes to this great productions. Billy Oskay Big Red Studio USA (Spanish) Neyza actualmente ha finalizado su nuevo proyecto. Uno de los trabajos mas importantes de su carrera artística, el lanzamiento 2010 del CD 'REENCUENTRO' Un nuevo material largamente acariciado y producido con la mas exigente calidad, tanto en la musicalización, arreglos, como en su sonido. Producido en Europa, Bolivia y Perú y masterizado en Estados Unidos. MERILES&SMITH Productions (Spanish) Un reencuentro fue... Pudo ser la la flor del jardín que cultivé, o el dulce fruto del huerto que regué. Pudo ser la página que mi espiritu escribió, o esa luz divina que mi arte iluminó. Motivo siempre habrá para evocar... el verso que canté, el arte que elogié, mi público que admiré. con mis versos y mi voz, mi sendero escrito está. Mi amor a la música me marca, me inspira un REENCUENTRO que es presente y es ayer. NEYZA.
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    Trilaterus
    The Music: Tango Sonata (2004-5): Imagine, if you will, a violin and piano duo in the smoke filled lounge of a luxury hotel in Buenos Aires. They start off their evening playing a romantic tango for the lovers dancing in the room. Then, surprisingly, the violinist and pianist take a break from their jobs and, dance a sexy tango with each other. Finally, to show everyone how it is really done, the violin and piano dance with violinist and pianist, or vice versa. In any case, they all dance a tour-de-force before collapsing with exhaustion at the end. Ghaleb and the Donkey (2004): is a short, sprightly, and enjoyable piece radiates nothing but happiness from beginning to end. It was commissioned by the Kayali Family, and tells the true story of Ghaleb, who, as a child dancer on stage in the Ballet, "Union Jack," at the New York City Ballet, had his foot stepped on by a live donkey. Ron witnessed this event from his seat in the orchestra pit and immediately got the idea to set it to music. The piece was choreographed for two boys by Michelle Mola. Ghaleb premiered the role of himself, and Craig Wasserman played the Donkey. It was performed at a New York City Ballet company party. The names of the very short movements are as follows: 1. Ghaleb Dances Happily. 2. The Donkey Enters. 3. The Donkey Gets Excited. 4. In His Excitement the Donkey Steps On Ghaleb's Foot. 5. Ghaleb Nurses His Wounds But Recovers Quickly. 6. Ghaleb Tames The Donkey And They Happily Dance Together. Enjoy!! Sonata for Double Bass and Piano (2003): is dedicated to Frank Proto, one of the deans of bass playing composers. Several years ago, Frank asked Ron to write a short piece for an album of music to be presented to their teacher, the eminent David Walter, on the occasion of his 90th birthday. Ron obediently fashioned a short work for solo double bass, and hasn't stopped writing since, hence the dedication, in deep gratitude for that small act of motivation which proved to be a life-changing event. The Sonata, probably the only work on this recording that can not readily be danced to, (and only because of it's unusual instrumentation) is one of the most ambitious solo works ever written for the bass, and borrows much from it's multi-functions as a jazz, pop, and classical instrument. There is no instrument with greater versatility. The piece makes use of a wide array of styles ranging from the classical Sonata-Allegro form, to impressionism, to more modern styles such as minimalism and those of the postmodern populists and crossover artists who utilize rock, and even bluegrass influences. Using various out of the ordinary techniques such as 5/4 time, double stops, portamenti, melodies in the extreme high tessitura, and an overall feeling of improvisation, it should prove to be an enduring work for the advanced soloist at the college to professional level. Trilaterus (2006): refers to three movements by three players, and has, as it's raison d'être, the bringing together of the three solo instruments on this recording. It's three movements are of such vastly different characters they could almost be considered different pieces. The first movement's title is a very simple numerical puzzle relating to the numbers of beats and measures in the piece, multiplied by the number of eighth notes in a beat. The second movement shows reverence to the old torch songs of Tin Pan Alley, and how they have been interpreted by jazz musicians over the years. The third movement is somewhat schizophrenic, successfully switching back and forth between a neo-baroque dance, and a postmodern, downtown, improvised, art-music mood. But once again, most of these pieces are eminently danceable, or at least subconsciously emulate dance music, which is something that Ron Wasserman, try as he might, simply can't escape from. His many years in the ballet orchestra pit seem to have permanently tattooed his musical sensibilities. Trilaterus is warmly and affectionately dedicated to Maria Asteriadou and Kurt Nikkanen in gratitude to the wonderful artistry they contributed to this recording and the creation of the piece. The Artists: Ron Wasserman, Composer Since his first recording was produced in 2004, Ron has had several interesting opportunities come his way. In July 2005, he received his first orchestral commission from the New York City Ballet to compose a short introductory fanfare celebrating the 40 year residency of the Ballet at the Saratoga Performing Arts Center that summer. In January 2005, Ron arranged several Astor Piazzolla Tangos to accompany the new production of Peter Martins' reworked ballet, "Todo Buenos Aires." He also wrote pieces for violin and piano to accompany various New York City Ballet educational programs, one of which involved Christopher Wheeldon extemporaneously choreographing short dances for children called onstage from the audience. His orchestral work, "Lament and Restoration," a 9/11 memorial concerto for violinist, strings, and harpsichord was recorded in 2004 by the micro-label Red Bandanna Records, along with his "Suite of Historical Dances." "Lament and Restoration" was previously performed in Sant' Oreste, Italy, and Nyack, New York. In May of 2005, "Lament and Restoration" was made into a ballet entitled, "Red Bandanna," choreographed by Margo Sappington for a performance by Valentina Kozlova and her Dance Conservatory Performance Project at Symphony Space in New York City. He has also composed several highly regarded arrangements of traditional spirituals, jazz numbers and rags for the Westchester Philharmonic and the New York City Ballet Orchestra. As a veteran of the classical music business, Ron has long been concerned with the financial health of the American symphony orchestra, and has dedicated himself to several imaginative fundraising efforts. He is extremely happy that at almost half of the proceeds from his first recording have gone to support the non-profit classical performing arts industry. In recent months of this writing he has finished part one of "Unrealized Dreams?" a song cycle for baritone and piano, with excerpts from recent presidential inaugural addresses as it's text, and several of what will ultimately be twenty-four preludes and fugues for piano in all keys somewhat in the style of Bach. Most ambitiously, he is working on a full-length children's ballet for orchestra to his own libretto. Ron always welcomes comments on his music and he can be contacted at ronwass@yahoo.com. Ron Wasserman, Bassist Since 1988 Ron has held the position of principal bass for the New York City Ballet Orchestra. He has also served or substituted as principal bass of many other orchestras including the Long Island Philharmonic, The Brooklyn Philharmonic, The American Composer's Orchestra, The Westchester Philharmonic, and the Bard Festival Orchestra. For the past several years he has substituted from time to time with the New York Philharmonic. In 2000 he appeared onstage at the New York City Ballet as a soloist in the Diamond Project ballet, "Appalachia Waltz," becoming one of the very few bassists to recreate the music of Edgar Meyer. He has also performed onstage in the above mentioned "Todo Buenos Aires." Before his orchestra career became full time, Ron played for many years as a jazz, pop, and commercial musician in countless of New York's sundry recording studios, Broadway theaters, concert halls, and clubs. In his earlier, more jazz oriented days he had the great pleasure of appearing with Dizzy Gillespie, Lionel Hampton, Don Elliott and others. Ron attended Indiana University, studying bass with Stuart Sankey, and jazz performance with David Baker. He studied with the late, great David Walter at both the Manhattan School of Music and the Juilliard School, where he received the Master of Music degree in 1985. Maria Asteriadou, Pianist Maria Asteriadou, a native of Greece, has established herself as a well known piano soloist and chamber musician in the United St
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    Mist of Charms
    CD Introduction: This second new album 'Mist Of Charms', is the realization of a long standing dream. The songs are created to reflect my African roots. 'Djonkey' is a powerful and energetic 'Gazo rhythm' from Togo, West Africa, 'Sentiment' is what I call my Togo blues, and 'Koko song' is a deliciously driving West African Highlife rhythm similar to the Caribbean Soka. 'Guilty' a Reggae tune, and 'Nature Of the Beast' an Old School R & B are by far my favorites. I love them because of their structures, their melodies, and most of all, their messages. I surely hope that the audience will find joy listening or dancing to these tunes as much as I found joy creating them. Joachim Joe Amouzou' Bio: Joe Amouzou was born in Togo, West Africa, into a very musical family. His father, Louis, was a renowned folk singer, whose songs remain part of the cultural fabric of the country. His mother was an accomplished soprano in a well-known local choir. Joe's career in music began in his teens as a radio, television and concert singer and musician. Since immigrating to Canada in the early 1980s, Joachim continued to entertain in a wide variety of venues, singing and playing guitar, keyboard and percussion instruments. His repertoire includes Caribbean, African, Reggae, and French music, which he performs solo or with groups. Joe is a prolific song writer, with lyrics written in French, English Mina and Ewe languages. The new millennium found Joe writing songs and making his first CD, 'Singing for Love', released in 2004 and which spanned rhythm and blues, jazz, African folk, and reggae. His debut album expressed political awareness and the human experience... particularly love. Upon release of his album, Joe was interviewed by CBC and a song, 'Help Me Love You' was selected for the movie documentary, 'Territoire De L'Autre', which was broadcast in May 2004. While promoting his first CD, Joe traveled to Europe and Africa and did radio and TV shows on both continents with notable music and media personalities, including Manu Dibango. He then traveled to Taiwan and performed in three major concerts with the band 'Jazz Afric'. Upon returning to Canada, Joachim continued to perform, notably at a fundraiser for Darfur and Culturama at Vancouver's Vogue Theatre. He continued to write and record songs, mainly in the genre of Afro-Jazz fusion. The fruit of two years of steady effort and devotion is a second album, 'Mist of Charms', due to be released in June 2006. The CD is high-energy and danceable... fraught with powerful and delicious rhythm. With the release of this album, Joe Amouzou has emerged as a leading African Canadian composer and performer. Thanks and Salut: Some years ago in Lome, Togo,(West Africa)on a quiet and enchanted evening, a great man and I stood alone on a balcony. He said, 'Son, I will share with you something tonight that I often think of. If ever I was condemned to die for any reason, and I was asked what my last request would be, I would simply ask to have beautiful and soothing music played to me for three minutes... after which they could shoot. Believe me, 'he continued, 'by the time the order was given to fire, they'd only hit my empty shell (his body), for my soul would be far away.' I was profoundly touched and could only say, 'Papa, you love music that much?' He nodded his head to confirm, 'Music is my soul and my soul is music!' He then smiled, caressed my hair and said, 'Good night, son'. Now, I take this step further by saying this to all past, present and future great musicians all over the globe: Thank you for your gifts to the world, for sharing your divine talent so unselfishly with others, for offering us your best - your music and your love. Joe Amouzou - Mist Of Charms (Rossignol Records) Key Tracks: Koko Song, Guilty, Mist Of Charms World Beat Album Review by Cal Koat While today's pop may be polished to perfection and manufactured for mass appeal, charm is one element that seems to have been sacrificed in the process. Joe Amouzou 's new album, 'Mist Of Charms' was crafted with an artisan's touch. The disc was a two year labor of love, which drew on his personal experience with many different styles of African music and his extensive repertoire of global and contemporary rhythms. As a composer, writer, arranger and singer, Togolese-born Amouzou takes a 'hands-on' app roach to his music. Mist Of Charms is a mix of Afro Jazz fusion which charms the listener with an array of songs and styles that offer both personal insight and universal appeal. It's a finely crafted recording that draws on his passion for the global rhythms and the added skill of some of our city's finest players.
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    Velvet Gold
    From Origivation magazine: Blue Sinatra Velvet Gold Independent Release 5 of 5 stars Philly's favorite funk/jazz band has delivered a gorgeous record. These guys are great players, with a smooth-but-not-patronizing sound that has been known to melt the hardest of cores. It's almost impossible not to compare these guys to local heroes G-Love and Special Sauce, but these guys are fresh in their own rite. Totally danceable and respectable at the same time, Velvet Gold is shiny and soft, just like the title tells you. And who doesn't like shiny, soft stuff?
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