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Ronny Jordan - Off The Record
JAZZFUNK | WAVPACK | CUE | LOG | COVERS | 277MB | 48:37
Blue Note 2001
Цитата:| The funkified British-born electric guitarist was there in the early '90s as one of the leaders of what became the acid jazz movement, and he came along in early 2000 to point the way to A Brighter Day, which blended some of those old sensibilities with more modern R&B and some smooth jazz elements. The explosive sense of retro-funk and cool returns here, and if it weren't for a few silly, self-indulgent moments, this disc would be near perfect. On "Get Ready! (Intro)," he jams coolly on wah-wah over a crunchy shuffle groove as rapper Love Child introduces the band and the cross-racial appeal of this music (which is unnecessary given the liner notes and the broad appeal of this sound). No doubt Jordan is just trying to be tongue-in-cheek on "Ronny, You Talk Too Much!," but the feisty track -- on which percussive, high-register piano chords act as accents behind some of Jordan's most aggressive lines -- is distracted by Love Child's cutesy telephone conversation scenario. "No Pay, No Pay" blends Alvin McCray's moody, soft synth harmonies with Jordan's slick update on the Wes Montgomery sound as the Catfish Choir echoes with funky whispers in the background. That flavor also inhabits the all-instrumental "Floor & More," which unnecessarily adds croaking synth sounds in selected spots. Mariah Carey soundalike Fay Simpson leads the forward-thinking "Keep Your Head Up," another atmospheric crunch-funk track on which Jordan takes a soft, supporting role, his guitar often blending with the voices. The bassline of "On the Record" is a playful O'Jays-flavored takeoff, with Jordan then chiming in with dual, high-low, sometimes blending sounds on rhythm and lead guitar. The sound effects-filled title track finds the guitarist kicking back in trip-hop heaven, while "(The Theme From) Underworld" is sort of a hip-hop version of the Twin Peaks theme. "Toe Jam" is a wild, hardcore rap closer that somewhat disrupts the smoother, atmospheric soul vibe of the disc, though its anthemic nature makes it fun on its own. On the record, Jordan keeps on innovating. ~ Jonathan Widran, All Music Guide |
TRACKLISTING
01. Get Ready! (Intro)
02. No Pay, No Play
03. Keep Your Head Up
04. Floor & More
05. Once Or Twice
06. Ronny, You 'Talk' Too Much!
07. On The Record
08. Off The Record
09. (The Theme From) Underworld
10. Toe Jam
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Ronny Jordan - At Last
JAZZFUNK | WAVPACK | CUE | LOG | COVERS | 293MB | 52:32
N2K 2003
Цитата:| Ronny Jordan's first effort for N-Coded after a pair of winners on Blue Note is a déjà vu of sorts for anyone who was interested in the initial modern-day groove jazz ushered in by George Benson with Breezin'. Not that Jordan's fine At Last sounds anything like Benson's album, or that the two have anything in common besides Wes Montgomery -- it's more vibe than anything. At Last is the album where Jordan is relaxed enough to prove he has nothing left to prove. He's not only arrived, but he's not going anywhere either. The ten tracks here are mature, progressive, and steeped in summery groove. The hip-hop evident on his forays into the genre has virtually evaporated. The harder-edged, funky sounds on the Blue Note records are largely absent and his journeys down R&B and soul paths forged by the O'Jays and others have been set aside in favor of a return to jazz. Jordan's playing here is in the tradition of Montgomery and Grant Green, to be sure, though the vibe is an update of the soul-jazz sound Benson patented. But it's a thorough update. For the most part, Jordan plays sweet, shimmering, chorded leads over keyboards and drum programming by Joel Campbell. But there are tracks such as the opener, the stunningly beautiful title track, where Elliot Mason solos on both flugelhorn and trumpet with backing by the pair that makes for stunning sonic and textural contrast. Elsewhere, such as on "Rendezvous" and "(In) The Limelight," Mason's brother, Brad, adds the warmer brass sonority of the trombone to the groove essentials. On the former, Jordan adds a layer of acoustic guitars to the mix and the rhythm tracks slip toward the back of the mix; on the latter, he plays a single-string lead throughout over chunky, phased, echoplexed chords over a skittering drum'n'bass loop as the horns play unison harmonics on spare charts that add depth and mass to the rhythm section. Crystal Lake makes an appearance on a gorgeous duet with Jordan. She is a soul singer first, but given the shiny jazz atmospherics, she comes across more like Monday Michiru. On "St. Tropez," the album's closer, we get a club mix. Jordan departs for the first time from the patchwork quilt of pure silky black he's woven over the course of the album. It won't be everybody's thang, but it keeps the sexy, summery vibe even if it gives up the jazz groove for a funkier heartbeat. In sum, this is easily Jordan's most consistent date as well as his most mature compositionally, musically, and soulfully. At Last is the summer smooth jazz record of 2003. ~ Thom Jurek, All Music Guide |
TRACKLISTING
01. At Last
02. Nite and Day
03. Heaven
04. You Might Need Somebody
05. Word of Mouth
06. Tease
07. Rondezvous
08. Island Paradise
09. (In) The Limelight
10. St Tropez [Club Mix]
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