I he P ortland O bserver • S eptember 13, 1995
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IVarner Jams Vol. 1: Brad Mehldau (Piano); Joshua Redman (Tenor. Saxophone); Clarence Seay
(bass) Wallace Roney (Trumpet); Brian Blade Kenny Garrett (Alto, Saxophone); and not p/ctured
Larry Golden (Organ).
Warner jams Vol. 1
Warner Jams Volume I is the
first in a series of albums that brings
together different creative sensibil
ities and celebrates the bedrock of
jazz-exceptional musicianship with
artistry, innovation, improvisation
and jamming.
It was Matt Pierson, Warner
Bros Records Senior VP/Jazz, who
decided to assemble the line-up of
formidable talent appearing on this
disc. In so doing, he throws the
spotlight on Warner’s jazz roster,
placing artists in creative situations
where they can stretch. The series
will combine various members of
the Wamerjazz fami ly, demonstrat
ing how Warner Jams.
On Warner Jams Volume I, three
talented hornmen-Wallace Roney,
Kenny Garrett and Joshua Redman-
com bine with two new ro ster
signings-Larry Goldings and Brad
Mehldau (both with debut albums
slated for release in September). The
Warner fivesome is backed by some
distinguished guests: Peter Bernstein,
guitar;Clarence Seay, bass; and Brian
Blade, drums.
The album features Cole Por
ter’s “Get Out O f Town,’’ Miles
Davis’s “Sid's Ahead," a cover of
Roberta Flack’s monster hit “Killing
Me Softly With His Song," as well as
originals by each o f the album’s dis
tinguished leaders.
According to Jeff Levenson,
Warner Bros. Records VP/Jazz,
" I he industry-wide divisions be
tween contemporary jazz and tradi
tional jazz will not mean a whole lot
to this series. The Warner artists are
consummate musicians; we believe
we can inspire their creativity by
throwing them together in different
groupings."
Each project will showcase the
work o f legendary jazz photogra
phers. On Warner Jams Volume I, it
is Herman Leonard, whose photo
graphs o f Dexter Gordon, Duke
Ellington, Ella Fitzgerald, etal., have
done much to create jazz's classic
iconography.
CHARLES & EDDIE
You can’t blame Capitol re
cording artists Charles & Eddie for
experiencing a bit o f trepidation
before starting to record their sec
ond album, Chocolate Milk. After
all, the dynamic duo’s label debut,
Duophonic, sold some 1.2 million
copies around the world, spawning
a Top 15 U.S. single in “Would I
Lie To You,” which topped the
charts in 16 countries, including
France, England, Germany and
South Africa. After a whirlwind,
year-long promotional tour, the
P h ilad elp h ia-raised
C harles
Pettigrew and his Oakland-born
partner, Eddie Chacon, took some
well-deserved time o ff before
launching into the creation o f their
eagerly anticipated follow-up, once
again with producer Josh Deutsch.
C h a rles & E ddie: Charles Pettigrew, a n d E ddie C hacon
“On the first album, we con
sciously stressed the sameness be
Chacon, who recorded a pair o f
growth on such songs as the first
tween our races and styles. We
hip-hop album s for Luther
single“24-7-365,” which combines
didn’t want you to know when one
Campbell’s label, but was always a
Eddie’s love o f stylized, raw testi
voice left off and the other came
soul classicist at heart, encouraged
fying (like his idol Al Green) with
in,” explains Charles, a classically
Pettigrew to write songs for the al
Charles’ rounder, silkier crooning
trained musician who studied jazz
bum, and the result makes for a deep
in an evocative, yet totally modem
singing at Berklee School of Music
er, more eclectic source of material
soul neo-classicism, replete with
in Boston, and counts Marvin Gaye,
this time around. “ We decided com
Gamble & Huff-style strings and a
Stevie Wonder and Michael Jack-
ing across as individuals is where the
hook right out o f “Dancing In The
son as his three seminal influences.
potential for future maturity lies,”
Streets.” The song sounds, at once,
“This time, we tried to hold up our
says Eddie. “I always felt, the more
brand-new and yet instantly famil
differences, to say, You’re not like
C harles co ntributed to the
iar. “The original was almost like a
me, but that’s why I like you.’ We
songwriting, the more true we’d be
country song,” says Eddie. “But I
can get that much more out o f each
as a duo.”
always heard it as a Charles & Eddie
other because we’re not alike.”
Chocolate Milk underlines that
Tune.”
I
Any Washington politiciande-
crying the “loveless sex” in pop
culture today hasn’t checked out
the smooth-as-satin music of Ken
neth Mangram. This sensational
R&B singer/songwriter is an all-
out romantic, a lover of candle
light, moonlight and slow dancing
on a hot summer night. On his new
Qwest records debut album. Inter
twine Da Fold, Kenneth Mangram
proves convincingly he’s got the
chops as he pulls out all the stops.
Produced by Curtis Williams,
Donnell Jones (Usher) and Oji
Pierce (Montell Jordan), Intertwine
Da Fold braids jazz, R&B and
slammin’ hip-hop grooves into a
lum inous new style uniquely
Mangram’s. “I wanted to bring back
a live feel to music,” says Kenneth.
“That’s why I incorporated live
players on the album. You can have
the biggest light show in the world,
but if you don’t bring people into
your music, you won’t be as enter
taining as a three-piece band with a
single Iight bulb.” Accordingly,sev
eral sterling musicians contributed
their talents to the making o f the
album, including noted jazz guitar-
KENNETH
MANGRAM
ist Doc Powell and Curtis Williams
himself on sax.
In addition to his vocals, Ken
neth programmed and played key
boards.
All twelve tracks on Intertwine
Da Fold portray a different facet of
love, each brought to life through
Kenneth’spassion-filled vocals and
harmonies. Songs like the provoca
tive "I Wonder,” the sensual "If
You’re Looking for Love" and the
jazz-flavored “Loving’ You E-Z”
certify Mangram as a first-class bal
ladeer. The up-tempo “8 3 1 code” is
a sly look at romance over a cell
phone, while the debut single, “I’ll
Send You Roses,” co-written by
Babyface, is yet another testament
to undying and faithful love.
Other songs like “Slo Ride,”
“ So D e v in e,” the seductive
“Emagine” and the elegant “Love
Takes Time” are about longing and
fulfillment, while the funky up-tem
po “Give Me” has a touch more
sass, especially in its mid-track rap.
The album ends with the big band
feel o f“Through It All,”a powerful
statement about commitment, emo
tion and true love. Like every song
on the album, it’s sung from the
heart by a singer with Dlenty of
heart himself.
Lords Of the Underground With Deniecc Williams
“We have reached the point
where our popular culture threatens
to undermine our character as a na
tion.”
Dole went on to denounce rap
performers who “revel in mindless
violence and loveless sex.”
“With the changes in music and
people’s attitude toward the music, I
feel that “Faith” could not be more
timely. The Lords O f The Under
ground’s treatment o f the song
brought the message to today’s gen
eration. I’m impressed with their cre
ativity and artistic integrity”
Williams and The Lords have
re-worked Williams’ song“Free” into
the anthem “Faith.”
Deniece Williams also appears
in the video
AZ The Visualiza Makes Debut With “ Sugar I lili”
24 year-old rapper AZ origi
nates from East New York; home of
those who are brave (if not free).
Signed without a demo, AZ made
his first appearance as a guest rap
per on Nas’ lllmatic, shining a brief
but powerful light on how and why
“Life’s A Bitch.” This telling dis
play o f ability sparked a major label
rush for AZ’s service, culminating
in his signing to EMI Records. His
debut single “Sugar Hill” featuring
missjones is only a prelude to the
album DOE Or DIE, in-stores on
October 10.
Sugar Hill is...
“Outstanding. AZ strides con
fidently into the spotlight. [He]
sounds relaxed and grateful to be
alive, and his enthusiasm is infec
tious,’’-Pulse.
“[AZ] makes good on his prom
ise on a debut single that kicks laid
funk and old-school soul flavors...
AZ’s optimistic visions o f a better
life on “sugar hill” are the fuel of
this hit-bound multiformat vehi
cle,’’-Billboard.
right-the track is about as difficult to
“AZ throws his elastic voice
enjoy as a massage,’’-V ibe.
through a swooshing, bass-tight
Sugar Hill is right here!
ened groove... “Plush” is how AZ
#1 At Hits And Gavin;# I At Bet
describes his dope escape, and he’s
Rap C ity -4 Wks In A Row; #5 W/A
Bullet - Billboard Hot Rap Singles,
Greatest Gainer; # 18 W/ A Bullet -
Billboard Hot R&B Singles; #41
W/ A Bullet - Billboard Hot 100
Singles, Greatest Gainer Airnlav