Tom Scott And The L.A. Express - 1974 - Tom Scott And The L.A. Express

Tom Scott And The L.A. Express

1974

Tom Scott And The L.A. Express

01. Bless My Soul 4:13

02. Sneakin' In The Back 4:31

03. King Cobra 4:21

04. Dahomey Dance 3:40

05. Nunya 3:38

06. Easy Life 3:00

07. Spindrift 5:41

08. Strut Your Stuff 3:35

09. L.A. Expression 6:20

10. Vertigo 2:30

Bass – Max Bennett

Guitar – Larry Carlton

Horns, Woodwind – Tom Scott

Keyboards – Joe Sample

Percussion, Drums – John Guerin

Most of Tom Scott's GRP albums of the '80s and '90s have been shallow, formulaic releases offering little evidence of the saxman's improvisatory skills. But most of his earlier recordings of the '70s were appealing jazz/funk/R&B efforts that, although commercial and highly accessible, demonstrated his capabilities as a soloist. If the version of Scott's L.A. Express band heard on this album (reissued on CD in 1996) brings to mind the Crusaders, it's because two of its members, keyboardist Joe Sample and guitarist Larry Carlton, were also Crusaders members. Although the Express was never in a class with that band, it was a likable unit defined by its cohesiveness, warmth, and spontaneity. As slick as the Express was, it took risks. It's hard to imagine Scott providing a funk-drenched version of John Coltrane's "Dahomey's Dance" as he does here -- or incorporating Middle Eastern influences as he does on "King Cobra" -- on his calculated GRP recordings of the '90s. Solid jazz-funk like "L.A. Expression" and "Nunya" is well worth hearing. And "Spindrift," though congenial and mellow, is far more substantial than the Muzak with which he would later inundate us.

This album features a young reed player abounding in talent and energy. There's old school Jazz-Rock fusion, there's a more funky side reminding of Tower Of Power and the Crusaders. There's Quiet Storm before the term had been coined as a Radio format, there's also the experimental touch. The music is interesting and accessible at the same time. And most importantly, it all sounds fresh and unconsumed. Tom Scott gets plenty of opportunities to 'strut his stuff' as a player without overpowering the flow of the music.

Michael Franks - 1977 - Sleeping Gypsy

Michael Franks

1977

Sleeping Gypsy

01. Lady Wants to Know

02. I Really Hope It's You

03 In the Eye of the Storm

04. B'wana-He No Home

05. Don't Be Blue

06. Antonio's Song (The Rainbow)

07. Chain Reaction

08. Down in Brazil

Bass – Wilton Felder

Drums – John Guerin (tracks: A1 to A3, B1 to B3), Joao Palma (tracks: A4, B4)

Guitar – Helio Delmiro (tracks: A4, B4), Larry Carlton

Percussion – Ray Armando (tracks: A1, A3, A4, B2, B4)

Piano – Joe Sample (tracks: A1 to A3, B1 to B3), Joao Donato (tracks: A4, B4)

Saxophone – David Sanborn (tracks: A3, B1 to B3), Michael Brecker (tracks: A1, A2, A4)

Vocals – Michael Franks

After the success of The Art of Tea, Michael Franks was able to more confidently move closer to the kind of music he wanted to make. Employing a more exotic Brazilian feel on Sleeping Gypsy, with lush orchestration (courtesy of veteran jazz arranger and conductor Claus Ogerman), Franks moved his acoustic guitar work to the background to create a romantic sound with no sappiness. With "Down in Brazil" and, particularly, "Antonio's Song," his ode to Antonio Carlos Jobim, Franks was doing with Brazilian music for the rock crowd in the '70s what Stan Getz did for the jazz crowd in the '60s. He again employed his witty wordplay and evocative storytelling ability on "B'wana-He No Home," a song about a time when Dan Hicks was staying at his house while Franks was away. A romantic, elegant and important album in bringing Brazilian music to a wider audience.

A really brilliant little record – one of those gems that you've probably passed by so many times because it's ubiquitous, but which never fails to please over the years! Forget any pre-conceived notions you might have about Michael Franks, because at this early point in his career the man is a genre unto himself – working in a unique blend of jazz, pop, and a bit of soul – always served up sparely and with a great deal of understatement, but still filled with plenty of personal spirit on the lyrics. Franks' voice is beautifully compressed into the rest of the instrumentation by Tommy LiPuma – in a style that still holds up wonderfully over the years, and which is set to Claus Ogerman arrangements that make plenty great use of keyboards from Joe Sample of The Crusaders!