The New Jersey Kings - Party To The Bus Stop

The New Jersey Kings - Party To The Bus Stop

The New Jersey Kings are actually the James Taylor Quartet, under a different name. It all started when they signed to Polydor, who were very controlling in the directions that the James Taylor Quartet could go. They had to work with musicians they didn’t want to work with, so they did this project under a pseudonym to satisfy themselves. Then the label wanted them to release the stuff, so that was okay. It’s always been a different hat that they can wear if they choose.

"Party to the Bus Stop" is the first of 3 albums released under James Taylor Quartet's pseudynom.

1. Monkey Drop
2. Get Organized
3. Solid
4. Sweet Cakes
5. Sweet Shirley
6. Latin One
7. All Wrapped Up
8. Charlie's Groove
9. Solid [Alternate Take]

James Taylor Quartet's Website

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Bird - Double Chance

Bird - Double Chance

Bird is one of Japan’s biggest names in jazz. Her fusion of jazz, R&B, bossa nova, swing, and house has won her a fanbase all her own. She began doing folk-type music in 2002, but after almost a year of hiatus, her single Warabigami was released. This time bird went for a reggae feel. With her latest single Sparkles, she has gone back to her jazz roots but has mixed in disco as well.

In July 1999, her debut album was released and sold 700,000 copies. bird was given the Japan Gold Record for newcomers. Months later in October, her first national concert bird tour 1999 live! was sold out.

Double Chance is Bird's fourth album released on October 8th, 2003. It was produced by Takao Tajima and features songs by Earl Cooper, Jesse Harris, Ivan Lins, and Daisuke Kawaguchi. Inside the case is a multi-colored color pencil of which you can color the booklet with. The cover of Double Chance is an outline of bird's 16th single Chance, also featured on the album.

01 - Chance
02 - Haikyo No Dancehall
03 - Fukurami
04 - Viva Spa
05 - Spider
06 - Yomigaere
07 - Kidoairaku
08 - Miageta Sora E
09 - Ai Ketsuidamono
10 - Hikaru Anata

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Gota - Day & Night

Acid Jazz Album - Gota - Day & Night
After setting the smooth-jazz world ablaze in early 1999 with his second Album, Let's Get Started, drummer and studio musician Gota Yashiki returns with another solid album that effortlessly bridges the gap between the English acid jazz-funk movement and the American smooth jazz scene.

From the sly reference to Curtis Mayfield on "Around the Corner," to the obvious Tower of Power tribute on "What's Up, Charlie," Gota waves the 1970s funk flag high throughout Day and Night. He also keeps a prevailing acid-groove bed, with a smooth-jazz sheen as a covering.

"Sweet Emotion" is a perfect example of Gota's mix. It starts off with a motif straight out of Stevie Wonder before Gota's perfectly programmed percussion kicks off a funky midtempo beat that immediately leads to a sweet sax line that builds into a radio friendly hook taken in unison with a synthesizer that leads to a nice melodic guitar solo.

Former Brand New Heavies keyboardist Neal Cowley shines throughout as Gota spreads his musical wealth around among some great players from the U.K. Even though the last track is a ballad, this is a record that builds in intensity and emotion from the first few smoother tracks to the latter more acidic stuff.

1. Cruisin' Your Way
2. Around The Corner
3. All Together Now
4. Unforgettable Feeling
5. Sweet Memories
6. Day & Night
7. Sunnyside
8. Sweet Emotion
9. What's Up Charlie?
10. Chase In The Urban Jungle
11. In The Past

Gota's Homepage
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J.A.M - Jazzy Joint feat. Jose James (video)

J.A.M is Josei, Akita Goldman, and Midorin from Soil & "Pimp" Sessions.

Down to the Bone - Spread the Word

Acid Jazz - Down to the Bone - Spread the Word

People who complain that today's contemporary jazz is a bit too smooth need to get the word on this outfit and in particular its third disc, which follows in the tradition of British acts like Brand New Heavies that blend acid jazz, jazz, pop, retro soul, modern R&B, and (dare we discern) a little disco?

The funky and bluesy bounce and throb of the opening cut, "Keep on Keepin' On," is hard to resist. Mixing brass and the piano riffs of Neil Angilley creates an hypnotic effect over a punchy retro soul guitar flavor by Tony Remy. But the core tune is driven by the alto sax of Adrian Revell.

So many elements, a simple description can't contain them all. "Sound as a Pound" opens with some modern synth effects and a croaking bassline combined with Remy's retro rhythm guitars; the lead is given to Angilley's playful jazzy piano melody, and a horn section comes in after a few bars to echo his jumpy spirit. "Bridgeport Boogie" is like a classic Crusaders tune, all dancing horn melody over Rhodes and electric organ for that perfect simmering '70s sheen.

Interesting that the tune named "Righteous Reeds" begins with such a dramatic percussion jungle; the horns are fine, but the least dynamic part of the song! "The Backburner" begins the same way, giving percussionist Satin Singh a dramatic showcase for himself. "Downtown Shuffle" is all wah-wah guitar, pounding bass energy, and whimsical brass that soars to the heavens.

A lot of instrumental albums these days take a breather for a radio-ready ballad, but these guys might consider such a break unimaginative or downright blasphemous. So might the listener who keeps on boppin' along.

1. Keep On Keepin' On
2. Sound As A Pound
3. Righteous Reeds
4. Bridge Port Boogie
5. Soul Brother No.1
6. Downtown Shuffle
7. Black Choice
8. The Backburner
9. The Lowdown
10. Mighty Mighty Fine

Down to the Bone's Website

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What is Acid Jazz?

Acid jazz (also known as club jazz) is a musical genre that combines elements of soul music, funk, disco, particularly looping beats and modal harmony. It developed over the 1980s and 1990s and could be seen as tacking the sound of jazz-funk onto electronic dance/pop music.

The compositions of groups such as The Brand New Heavies and Incognito often feature chord structures usually associated with Jazz music. The Heavies in particular were known in their early years for beginning their songs as catchy pop and rapidly steering them into jazz territory before "resolving" the composition and thus not losing any pop listeners but successfully "exposing" them to jazz elements in "baby steps".

The acid jazz "movement" is also seen as a "revival" of jazz-funk or jazz fusion or soul jazz by leading DJs such as Norman Jay or Gilles Peterson or Patrick Forge, also known as "rare groove crate diggers".