Mercury Studios, Jazz Casual Productions Inc.’s New Hybrid Concert/Documentary Presentation Is A Unique Offering’

Courtesy: Mercury Studios/Jazz Casual Productions, Inc.

The city of San Francisco, California is one of the most notable municipalities in America.  It is home to the famed Golden Gate Bridge, one of the greatest engineering accomplishments in America and the world.  It is also home of two championship professional sports teams in the form of the NFL’s 49ers and Major League Baseball’s Giants.  These are just some of its claims to fame.  Along with being known for these items, San Francisco is also known for being the center of one of the most important movements in the history of modern music, the psychedelic rock movement.  Now in a new, forthcoming presentation from Mercury Studios and Jazz Casual Productions, Inc. a renewed focus is being placed on the bands that formed the genre’s foundation.  A Night at the Family Dog/Go Ride The Music/West Pole is scheduled for release Friday through the companies’ partnership.  The three-part presentation finds itself worth taking in partially through its “liner notes” printed on its insert.  The information in the liner notes will be discussed shortly.  The concert presentation, A Night at the Family Dog builds on the foundation formed by the DVD’s liner notes.  It will be examined a little later.  Go Ride The Music and West Pole collectively make up another key part of the overall presentation and will also be examined later.  Each item noted is important in its own way to the whole of this overall presentation.  All things considered they make the presentation in general one that any rock fan will find watching at least once.

A Night at the Family Dog/Go Ride The Music/West Pole, the new three-part examination of the bands that formed the foundation of the psychedelic rock movement, is a presentation that any rock fan will find worth watching at least once.  The engagement and entertainment guaranteed by the program comes in part through its “liner notes.”  Printed on the inside of the case’s insert, the notes were crafted by famed producer/critic Ralph Gleason’s son, Toby Gleason.  Gleason, who also contributed notes to another recent release from Mercury Studios and Jazz Casual Productions, Inc. – Love You Madly/A Concert of Sacred Music at Grace Cathedral was the sole writer of this presentation’s notes.  He writes of A Night at the Family Dog, was his father’s final music television production.  The concert, of sorts, hurt his reputation in the jazz community, according to the younger Gleason.  He writes that this did not bother his father because as he points out in the notes, the featured bands – The Grateful Dead, Santana, and Jefferson Airplane each were influenced by famed figures in the jazz community.  Not only that but he writes of Marty Balin, that the Jefferson Airplane vocalist was himself influenced by classical music and the blues.  This is something that many viewers themselves might not have known.  As a result, such revelation could actually encourage audiences who otherwise might not listen to such music to perhaps give those sounds and styles a chance.  The jazz, classical and blues influences on each band’s sound and style is in fact audible to audiences who listen closely to each act.

In his writings about Go Ride The Music and West Pole, Toby Gleason notes the programs were his father’s first steps into covering the psychedelic rock movement.  He lays the groundwork here, pointing out that the features are meant to exhibit the tie between psychedelic rock and television.  The groundwork that all of this information creates forms a solid foundation for the overall presentation and in turn does plenty to encourage audiences to take in each separate presentation.

Moving deeper into the presentation, A Night at the Family Dog in fact proves fully engaging and entertaining.  The concert recording, which features performances from the likes of Santana, Jefferson Airplane, and The Grateful Dead, feels like such an intimate presentation, thanks to the setting.  That seeming intimate setting creates such a great sense for audiences.  Much the same can be said of the recording’s production values.  The grainy footage creates a welcome sense of nostalgia.  Even presented on a 4K UHD television, the footage still looks mostly positive, and the sound mix is just as enjoyable.  This is a credit to those charged with resurrecting the footage for this presentation.  Clearly the footage was not spit shined, but it was cleaned up just enough to make it look and sound just like it did when it was originally presented.  The positive general effect that results from that positive overall production is a welcome viewing experience and equally positive sense of nostalgia that makes the concert presentation fully worth watching.

Go Ride the Music and West Pole are of their own interest in that they are documentaries of sorts, but not necessarily documentaries in the purest sense of the term.  Rather, as the younger Gleason points out, they are meant to exhibit how the sounds created by the psychedelic rock genre’s founding bands played into a very specific style of visual presentation on screen.  They collectively look like the earliest music videos, and in hearing the elder Gleason talk briefly about the impact that the music had on its on-screen presentation makes for more appreciation for such visualization.  That is because it helps viewers understand this was not just videographers or filmmakers trying to be ironic or anything.  Rather it was an artistic approach meant to coincide with the style of music.  It really is interesting.  When the content featured in Go Ride The Music and West Pole is considered along with that in A Night at the Family Dog, the whole of said content makes the entirety of this presentation worth watching at least once.

A Night at the Family Dog/Go Ride The Music/West Pole, the new hybrid concert/documentary presentation from Mercury Studios and Jazz Casual Productions, Inc., is an intriguing new offering from the companies.  Its interest comes in part through its liner notes.  The notes, crafted by Ralph Gleason’s son Toby, lays a solid groundwork for the unique overall presentation, previewing the content featured in each show.  Each presentation offers audiences its own unique content, with the first offering audiences an intimate concert performance of sorts.  The other two programs are their own unique music video/documentary shows produced by Ralph Gleason.  They are their own works separate from one another, each serving well to show the influence of the psychedelic rock movement on screen.  Each element examined here is important in its own way to the whole of this presentation.  All things considered they make A Night at the Family Dog/Go Ride The Music/West Pole a unique overall presentation that is worth watching at least once.

More information on A Night at the Family Dog/Go Ride The Music/West Pole and other titles from Mercury Studios is available at:

Website: https://mercurystudios.com

Facebook: https://www.facebook.com/MercuryStudiosCo

Twitter: https://twitter.com/mercurystudios

To keep up with the latest news and reviews, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Mercury Studios Announces Details For New Concert Documentaries

Courtesy: Mercury Studios

Mercury Studios is scheduled to release the concert documentaries, A Night At The Family Dog, Go Ride The Music and West Pole this spring.

The documentaries are scheduled for release May 12 as a 2-DVD package, complete with new artwork and a bonus poster. The documentaries were originally produced and created by Ralph J. Gleason.

The concert set featured in A Night at the Family Dog was originally captured Feb. 4, 1970. It features performances from The Grateful Dead, Carlos Santana, and Jefferson Airplane. Go Ride The Music turns the focus to Jefferson Airplane and Quicksilver Messenger Service. Performances from David Crosby and Jerry Garcia are also featured as part of the documentary presentation.

Jefferson Airplane and The Grateful Dead are both featured again in the third documentary, West Pole. Also included in the presentation are Quicksilver Messenger Service and the Steve Miller Band.

The full track listing for the concerts featured in the forthcoming set is noted below:

A Night At The Family Dog/Go Ride The Music/West Pole Track listing:

A Night At The Family Dog
Incident At Neshabur – Santana
Soul Sacrifice – Santana
Hard To Handle – The Grateful Dead
China Cat Sunflower – The Grateful Dead
I Know You Rider – The Grateful Dead
The Ballad of You And Me And Pooneil – Jefferson Airplane
Eskimo Blue Day – Jefferson Airplane
A Super Jam – featuring Carlos Santana, Jerry Garcia, Jorma Kaukonen, Jack Casady, Paul Kantner and more!

Go Ride The Music
We Can Be Together – Jefferson Airplane
Volunteers – Jefferson Airplane
Mexico – Jefferson Airplane
Warm Red Wine – Quicksilver Messenger Service
Somebody’s Crying – Quicksilver Messenger Service
Subway – Quicksilver Messenger Service
Plastic Fantastic Lover – Jefferson Airplane
Somebody To Love – Jefferson Airplane
Mona – Quicksilver Messenger Service
Emergency – Jefferson Airplane
Wooden Ships – Jefferson Airplane

West Pole
Music – Ace Of Cups
Roll With It – Steve Miller Band
Greasy Heart – Jefferson Airplane
New Potato Caboose – The Grateful Dead
Dino’s Song – Quicksilver Messenger Service
Sittin’ In Circles – Steve Miller Band
Simplicity – Ace Of Cups
Freedom – Sons of Champlin
Gospel Song – Ace Of Cups

More information on this and other titles from Mercury Studios is available along with all of the company’s other news at:

Website: https://mercurystudios.com

Facebook: https://www.facebook.com/MercuryStudiosCo

Twitter: https://twitter.com/mercurystudios

To keep up with the latest news and reviews, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Elektric Voodoo’s Latest LP Will Cast Another Musical Spell On Audiences

Courtesy: Illusion Tournet Music

Independent music collective Elektric Voodoo is scheduled to release its latest album this week.  Thee group is scheduled to release its new album, Telescope Friday through Illusion Tournet Music.  The group’s third album, it will come less than three years after the release of the band’s then latest album, Animal (2018).  The nine-song album is a record that will appeal to a wide range of audiences.  That is proven in part through its featured musical arrangements, which will be discussed shortly.  The lyrical content that accompanies the album’s musical arrangements makes for its own share of interest to this record.  It will be discussed a little later.  The record’s sequencing rounds out the most important of the presentation’s elements.  It will also be examined later.  Each item noted is important in its own way to the whole of the album’s presentation.  All things considered, they make Telescope another enjoyable offering from Elektric Voodoo.

Elektric Voodoo’s forthcoming third album, Telescope is another positive offering from the group, founded by former Grace Potter and the Nocturnals member and founder Scott Tournet.  The 47-minute record’s success comes in part through its featured musical arrangements.  The arrangements in question are everything that audiences have come to expect from the group over the course of its existing albums.  The incorporation of the Afro-Latin percussion along with the vocals and other elements immediately lends each song’s whole to comparison to works from the likes of Carlos Santana and to a lesser degree, The Doobie Brothers.  Though, the comparison to works from Santana are much stronger.  At the same time, it is just as easy to compare the arrangements featured here to works from Elektric Voodoo’s first two albums.  The good thing is that as similar as the works are to the band’s existing body of work and even to one another here, the variances are just subtle enough that a close listen reveals the changes.  There is some funk-infused work alongside more soulful rock and other content throughout the record.  The whole makes the record’s musical arrangements in themselves stand out as their own important part of the album.  The arrangements are just a portion of what makes the album work.  Their companion lyrical themes play their own part in the album’s success.

The lyrical themes featured in Telescope are just as important to the album’s presentation as their musical counterparts because they do just as much to keep audiences engaged and entertained as that music content.  Case in point is the lyrical theme featured in ‘People of the Earth.’ This song’s lyrical theme clearly delivers a message of unity.  It is not the first time that any group has presented such a message, but it is just as welcome here as in the case of any other act’s similar song.  The message is made clear as Tournet and company sing throughout the song, “We’re people of the Earth/We all belong.”  That and the note of people being together from so many different nations makes the song’s message clear.  The upbeat nature of the song’s arrangement alongside that welcome message and the rest of the song’s lyrical content (which furthers the noted message) makes the song’s message connect with listeners that much more.  It is just one of the songs whose lyrical content shows the importance of the album’s lyrical themes.  ‘Children Are The Revolution’ is another example of the importance of the album’s lyrical content.

The declaration that “money and the politicians/They’lll never tell the truth” does well to set the stage here.  The refrain of “Love shines through it all” works with that previously noted statement and the rest of the song’s lyrical content to make the overall message unquestionably clear.  Once again, that message of love, unity, and positivity is just as welcome in this case as in so many other songs from other acts that have presented the same.  We live in a time nowadays when this message is as needed as ever if not more so.  It is just one more way in which the album’s lyrical themes prove so important to its presentation.  The lyrical content in the album’s title track is yet another example of the importance of the album’s lyrical theme.

The lyrical theme featured in ‘Telescope’ seems to hint at dealing with overcoming personal thoughts.  That is inferred through the mention of having lost someone and seeing the world through a telescope.  It seems like it is mean to evoke that sense of community with anyone who has ever lost a friend or someone close.  It really is another good song offering support for so many.  It is just one more example of what makes the album’s lyrical content so important to its presentation.  When it is considered with the other lyrical themes examined here and the rest of the album’s lyrical content, the whole leaves no doubt as to the importance of the album’s lyrical content.  Keeping that in mind, the album’s lyrical content is not the last of the album’s most important elements.  The album’s sequencing rounds out its most important elements.

The sequencing of Telescope is important to address because of its impact on the record’s general effect.  The sequencing ensures the album’s mood stays stable from one arrangement to the next.  This as the arrangements change so subtly from one to the next.  The mood largely stays upbeat throughout the album as a result of the sequencing.  The end result is that the album ensures audiences’ engagement and entertainment through that positivity just as much as through its content.  Keeping that in mind, this and the album’s content collectively make the album in whole an other successful offering from Elektric Voodoo.

Elekctric Voodoo’s forthcoming album, Telescope is another strong new offering from the independent music collective.  That is proven in part through its arrangements.  The arrangements are everything that audiences have come to expect from the group.  The lyrical themes that accompany the album’s musical content adds its own appeal to the record.  That is because they are just as accessible as the album’s musical arrangements.  The record’s sequencing puts the finishing touch to the album’s presentation, ensuring audiences’ engagement and entertainment through the balance that it ensures in the record’s mood and energy.  Each item noted is important in its own way to the whole of the album.  All things considered, they make the album a presentation that will cast another spell over audiences from beginning to end.  Telescope is scheduled for release Friday through Illusion Tournet Music.  More information on the album is available along with all of Elektric Voodoo’s latest news at:

Website: https://elektricvoodoo.com

Facebook: https://www.facebook.com/elektricvoodoo

Twitter: https://twitter.com/ScottTournet

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.  

The Quarter Century-Plus Wait For Lunar Octet’s Latest Album Was Well Worth It

Courtesy: Summit Records

More than 25 years after it released its debut album Highway Fun, Latin-jazz collective Lunar Octet will return this week with only its second-ever album.  Convergence is scheduled for release Friday through Summit Records.  The 14-song album is a presentation that any fan of the noted genre will enjoy.  That is proven in no small part through the record’s featured musical arrangements, which will be discussed shortly.  The sequencing thereof adds its own appeal to the listening experience here.  It will be examined a little later.  The album’s companion booklet rounds out its most important elements and will be discussed later, too.  Each item noted here is key in its own way to the overall listening experience with Lunar Octet’s new album.  All things considered, they make the album a work that any fan of Afro-Latin jazz will find fully enjoyable.

Lunar Octet’s first new album in more than a quarter of a century is a presentation that the group’s established audience base will find just as appealing as those who are new to the group and its work.  That is proven in large part through the album’s featured musical arrangements.  The arrangements are diverse in their sound and stylistic approach throughout the record.  Case in point is the arrangement featured in ‘Mambossa.’  This arrangement blends the group’s familiar Afro-Latin jazz leanings and blends that with a more guitar-driven style a la Carlos Santana to make it a unique composition in its own right.  What is so interesting is here the fully noticeable evolution of the evolution.  It starts off softly with the pairing of the saxophone line, bass, percussion/drums, and subtle guitar.  As the song progresses, more horns are added to the mix, giving the arrangement more energy.  Approximately three minutes in, the Carlos Santa influence comes into the mix, to build on the arrangement even more.  The gradual growth and transitions exhibited throughout the song are so fluid and natural.  It makes for so much enjoyment throughout the song.

The variety within ‘Mambossa’ is just one example of what makes the album’s musical arrangements so crucial to its presentation.  ‘Samba Diabolico’ is another example of the role of the album’s musical content.  The very first thing that comes to mind when one hears or reads the word “Samba” is a typical two-four dance tune complete with agogo bell, horns, and Afro-Latin percussion.  This arrangement is anything but.  There is a trumpet line here, and even a saxophone.  There is even some subtle Afro-Latin percussion added into the mix, but it is not the typical samba work that conjures thoughts of Rio and Carnival.  Rather, the incorporation of the bass line and piano to the mix gives the arrangement here more the feel and sound of something that one might expect to hear playing at a café in Cuba than the boisterous sounds most commonly associated with the samba.

‘Olduvai Gorge’ is another example of the important role that this album’s musical content plays in its presentation.  The Carlos Santana style influence is present once    more here as it opens the five-and-a-half-minute composition.  The seamless fashion in which that element and the composition’s more pure Latin influences move back and forth will impress any listener.  What’s more, the stability in the song’s energy as the composition progresses is just as engaging and entertaining.  When this arrangement, the others noted here and the rest of the album’s arrangements are considered together, the importance of the album’s musical arrangements in whole becomes clear.  That collective content is just part of what makes the album successful.  The sequencing of the album’s musical content builds on the appeal of the arrangements and makes the album even more engaging and entertainment.

Audiences will find through a close listen to the record that its arrangements were sequenced in a fashion that keeps the album’s relatively stable throughout, what with its mostly mid-tempo compositions.  There are however, some break points of sorts thrown in to change things up and keep listeners entertained and engaged.  They come in the form of ‘Oye’ (the shortest of the record’s songs, it clocks in at only 47 seconds), and the even more relaxed ‘Until I Find The Words.’  Other than those moments, the rest of the album keeps its energy moving fluidly from one song to the next.  The stability in the energy delivered through the arrangements also leads to stable pacing from beginning to end.  The result of all of this is that audiences will find enjoyment from this album for its content and the general effect of that content.  Even as much as the content and its effect does for the album, it still is not the last of the album’s most important elements.  The booklet that accompanies the album rounds out its most important elements.

The booklet that is featured in Lunar Octet’s new album is important to examine because of the information that is presented in its liner notes.  The booklet’s liner notes start by giving a brief overview of the band’s history before pointing out the work that the band members put in to unite and work together.  From there, the notes — penned by Michael G. Nastos – briefly state that the songs featured in the album are both new and old works that the band members have developed over the years.  That note, although brief, adds to an appreciation for the album because it shows that this is not just something that the band members tossed together.  Rather it is a presentation that has grown and evolved over time while the band members did their own thing.  Speaking of that, the history section of the liner notes points out clearly that the band’s extended hiatus was fully on positive terms and that there was no animosity at all among the musicians.  That adds even more appreciation for the record.  As if everything noted is not enough, the extensive biographies of each of the group’s members adds its on share of interest.  When everything noted here is considered along with the album’s musical content and its sequencing, the result is a presentation that any Afro-Latin jazz fan will enjoy.

Lunar Octet’s first new album in more than 25 years (and only its second album overall) is a presentation that will impress jazz and Afro-Latin jazz fans alike.  Additionally, it will impress audiences who have waited and wondered for so many years if this group would ever release a new record.  The appeal comes in large part through the album’s featured songs.  As the liner notes point out, the songs are a combination of older material that the band crafted years ago and some more recent material.  It is also diverse in terms of its sound and stylistic approaches.  That in itself makes for reason enough to listen to this record.  The songs’ sequencing does its own share to ensure listeners’ engagement and entertainment.  That is due to the stability in the songs’ energies and the constant change in the sounds and stylistic approaches to the works.  The record’s booklet rounds out its most important elements, adding just enough background to the project to make the listening experience that full.  Each item noted here is important in its own way to the whole of Convergence.  All things considered, they make the album a presentation that audiences in general will agree was well worth the wait.  Convergence is scheduled for release Friday through Summit Records.  More information on the album is available along with all of Lunar Octet’s latest news at:

Website: https://lunaroctet.com

Facebook: https://www.facebook.com/LunarOctet

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.  

Andy James’ New Covers Compilation Will Get At Least Some Love

Courtesy: Le Coq Records

Jazz singer Andy James has made a career of covering music from well-known artists who have come before her.   Her debut 2018 record No Regrets and its 2019 follow-up Blue are collections composed primarily of covers of others’ works.  Now in 2021, James has continued that trend with yet another collection of covers in her latest album Tu Amor — roughly translated, that title means Your Love.  The 11-song compilation does not necessarily break any new ground for James, though is still somewhat entertaining.  That is due in part to the songs that make up the body of this compilation.  They will be discussed shortly.  Staying on the topic of the featured songs, they lead to one detractor that listeners cannot ignore, the lack of information as to the songs’ information.  Ironically, that negative actually leads to its own positive.  That will all be discussed a little later.  Everything noted here is important in its own way to the whole of Tu Amor.  All things considered, the compilation proves itself a presentation that at least some listeners will love.

Andy James’ new compilation record Tu Amor is an intriguing record that will appeal to her most devoted audiences.  That is proven in part through the songs that made up the record’s body.  The songs in question are largely well-known standards from some equally well-known figures.  James takes listeners as far back as 1930 with a take on George and Ira Gershwin’s timeless tune ‘But Not For Me’ and as recent as 1970 with a take on Henry Mancini’s ‘Loss of Love.’  Along the way, there are also covers of songs from the likes of Frank Sinatra (‘Night & Day’), Carlos Santa (‘Evil Ways’) and even Tony Hatch (‘Call Me’).  The latter is slightly less well-known than the others noted here, but the song itself is still well-known.  Simply put, James pulls from a relatively wide range of influences here.  She pulls songs from some of the most gamed American composers and performers for this compilation and from some equally popular Latin/Hispanic names (E.g. Alberto Dominguez and his hit song ‘Perfidia.’  That James would pull from that range of composers and performers gives listeners reason itself to hear this record at least once.  That the songs come from a relatively wide range of eras means the songs have different feelings in each work.  Her Latin-tinged take on the famous songs (which is nothing new for her, considering she has taken the same approach on the aforementioned records) gives the songs their own unique take while staying at least somewhat true to their source material.  Keeping all of this in mind the songs that feature in James’ new record are themselves a positive that her most devoted fans will appreciate.  Staying on the topic of the songs, they lead to the compilation’s one and only negative, its lack of information about the songs’ backgrounds.

As noted already, James takes listeners on a musical trip back through time in this compilation.  The artists and composers whose music she covers is relatively diverse, as is the style of songs.  While this in itself does enough to make for at least some appeal, audiences will note that James does not make mention of the original composers and artists associated with each song.  Whether this omission was the result of James herself or someone else, it means on one level that those responsible for the songs are not getting the credit they deserve.  Yet at the same time, the musicians who performed the songs with James in each song get their due credit.  To that end, one is left scratching one’s head why even that simple starting point is ignored here.  This is important to note because those who might not be so familiar with the noted songs and their history might be misled to believe that this is in fact a collection of originals rather than a grouping of covers.  That again is a disservice to the composers and artists who originally crafted the featured songs.  It is a negative that one cannot ignore and detracts considerably from the record.  Luckily it does not detract to the point that it makes the compilation a failure.  That is because it leads to an unexpected positive.  That positive is the fact that it leads the noted uninformed audiences to make their own journey in music history education.

The lack of a record of artists and composers in James’ new compilation is negative, yes, but at the same time it is positive.  That is because, as noted, it leads audiences who might be less familiar with the histories of each song on their own journey of discovery and education.  So actually in a way, there is a latent function to that lack of information here.  In researching the songs and learning the identities of their composers and performers, audiences will perhaps gain a new appreciation for those figures and their works.  On an even deeper level, discovering the identities of the noted figures and even the stylistic approaches to the source material of each song could also serve as a starting point for what could become an even bigger, deeper voyage into the great American genre that is jazz.  Keeping that in mind, the one negative from which this record suffers is in some odd way, its own positive.  When this is considered along with the wide range of songs covered here, the two elements together make the compilation a presentation that will find some of its own love.

Tu Amor is an intriguing new offering from jazz singer Andy James.  Its intrigue is raised in part through its featured songs.  The songs are compositions that pull from the “great American songbook” and from even rock and Latin worlds.  They pay tribute to some well-known and lesser-known works while giving those songs welcome updates.  The songs can and likely will lead to discoveries and appreciation of even more jazz in the process.  That is because audiences are left to research the songs themselves due to the lack of information on the original artists and composers in the compilation’s liner information.  That lack of information is the compilation’s only negative, because it does not give the noted figures their due credit.  Again ironically, it leads to the noted positive, bringing everything full circle.  Keeping everything noted here in mind, the compilation in whole will not ultimately prove to be a timeless compilation (especially considering that James has made a career of covering others’ works), but it will still find its own love.  Tu Amor is available now.  More information on the compilation is available along with all of Andy James’ latest news at:

Website: https://andyjames.com

Facebook: https://www.facebook.com/AndyJamesJazz

Twitter: https://twitter.com/andyjamesjazz

To keep up with the latest entertainment reviews and news, go online to https://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.  

Hannah Williams & The Affirmations’ New LP Towers Over Its Counterparts In Phil’s Picks 2019 Top 10 New Albums List

Courtesy: Record Kicks

As the year finally winds down its final days, the attention for many companies turns to the new year and the new crop of records already planned for the first quarter of the year.  As attentions turn to thew new year and its new albums, attention should also remain on the current year’s albums.  This year produced so many standout records from across the musical universe.  From rock and hard rock to pop to neo-soul and more, the offerings presented to audiences were many to say the very least.  Keeping that in mind, any critic will agree assembling the list of the year’s top new albums overall is a chore, but one that must happen.  This year’s top new albums are mainstream and independent alike, at least on this critic’s list.

Hannah Williams & The Affirmations easily made their way onto this critic’s final musical year-ender list with their new album 50 Foot Woman as did Slipknot, Sara Potenza and even Joel Ross.  Again, this list was anything but easy to assemble, but it did finally come together.  It is presented here complete with five honorable mention titles.  Without any further ado, here for your consideration is Phil’s Picks’ 2019 Top 10 New Albums.

 

PHIL’S PICKS 2019 TOP 10 NEW ALBUMS

1. Hannah Williams & The Affirmations — 50 Foot Woman
2. Devin Townsend — Empath
3. Slipknot — We Are Not Your Kind
4. Joel Ross — Kingmaker
5. Jazz At Lincoln Center Orchestra w/ Wynton Marsalis — Jazz & Art
6. Lakou Mizik — HaitiaNola
7. Diana Panton — Cheerful Little Earful
8. Am I Dead Yet? — Am I Dead Yet?
9. Carlos Santana — Africa Speaks
10. The Magpie Salute — Highwater II
11. Tedeschi Trucks Band — Signs
12. The Sh-Booms — The Blurred Odyssey
13. Sara Potenza — Sara Potenza
14. Wargirl — Wargirl
15. Hootie & The Blowfish — Imperfect Circle

 

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‘Live At Us Festival’ Is Santana’s Third Solid Release So Far This Year

Courtesy: Shout! Factory/Shout! Studios/Icon Television Music, Inc./Sony Music

Carlos Santana has been in the headlines a lot this year.  He released a new EP in January.  That record ­– In Search of Mona Lisa — was followed up in June, with a new full-length album, Africa Speaks.  Early this month, even more music from Santana saw the light of day with a new archived concert from Shout! Factory, Icon Television Music, Inc. and Sony Music in the form of Live at Us Festival.  Originally recorded Sept. 4, 1982, the vintage recording was released on Blu-ray Sept. 6, almost 37 years to the day after the concert featured in the presentation.  The recording is another welcome presentation for fans of Carlos Santana in part because of its set list, which will be discussed shortly.  The recording’s editing adds to its interest and will be discussed a little later.  The bonus content featured with the recording rounds out its most important elements.  Each item noted here plays its own part in making the concert appealing for Santana fans and music fans alike.  All things considered, they make the recording in whole, one more of this year’s top new live Blu-rays and DVDs.

Carlos Santana’s latest live recording Live at Us Festival is an enjoyable new offering from one of the elder statesmen of the music industry that his fans and music fans alike will enjoy.  That is due in part to the set list featured in this vintage concert recording.  The show’s set list is made up of a total of 13 songs, two of which – ‘Gypsy Queen’ and ‘Marbles’ – are actually part of some two-song collections.  The songs in total show, even then, they wide range of Santana’s talents and his fellow musicians.  The whole thing opens with a performance of the group’s own work, ‘Searchin,’ which is then followed up by the first of the two-part pieces, ‘Black Magic Woman’/’Gypsy Queen.’  What is important to note here is that ‘Black Magic Woman’ was originally composed by peter Green and made famous by Fleetwood Mac.  Fleetwood Mac is a far cry, stylistically, from Santana.  Yet Santana and company made the song their own, and did so impressively at that.  The musicianship of the percussionists – Raul Rekow, Armando Peraza and Orestas Vilat – adds so much to the performance.  The control they have on their respective instruments is astonishing in the best way possible.  Much the same can be said of the trio’s performance during ‘Savor.’  The timbales, guiro and congas really serve as the backbone for the arrangement, which in this case is one of the group’s originals.  The keyboards, handled by Richard Baker, add even more enjoyment to the performance.  This is just one more way in which the set list shines.  Between the group’s own originals and its covers, the whole of the set list makes for a presentation that without any doubt, will keep audiences fully engaged and entertained.  The only down side to the whole thing is the fact that audiences don’t get the band’s whole set in this concert.  Also featured in the concert were performances of the songs ‘Primera Invasion,’ ‘Dealer/’Spanish Rose’ and ‘Soul Sacrifice.’  They were also omitted from the concert’s broadcast on AXS TV.  That aside, what is presented in terms of the set list and performance thereof is enjoyable in its own right.  To that end, it creates a solid foundation for the recording’s whole.

While the concert footage featured in the recording is a key piece of its whole, it is not the recording’s only important element.  The recording’s editing plays into its whole, too. In examining the editing, the most notable aspect thereof is the separation of the recording between its concert and interview segments.  Each performance segment is preceded by an interview segment with Santana that is clearly much more recent than the footage from the concert.  Those breaks from the concert not only serve to help the recording’s pacing, but also to make the overall presentation more personal for viewers.  That is thanks to Santana’s very real and frank commentaries.  Those commentaries tackle a variety of topics, such as his view about the roots of what so many people label as Latin music, “real guitarists vs. not-so-real guitarists,” and the purpose of music.  Those discussions in themselves are just as certain to keep viewers entertained and are just the tip of the proverbial iceberg.  The bonus extended interviews featured with the recording make for even more interest.

The extended discussions that are featured as bonus content show Santana’s lighter side as he talks about “real guitarists” playing from all throughout inside instead of just their fingers.  He also goes into more depth about his sound and that of his band not really being a signature sound.  That discussion is one of the most enlightening of the discussions.  He also goes into more depth as to his view of how “Latin” music has been mislabeled by the powers that be.  Between these discussions and more, the extended discussion cuts truly are bonuses that are just as worth taking in as the concert’s main footage.  When both elements are considered along with the recording’s editing, the whole of the recording becomes a presentation that Santana’s fans will appreciate just as much as music fans in general.

Live at Us Festival is a positive new offering from Carlos Santana that music lovers across the board will appreciate.  It offers a set list that clearly puts on display the talents of Santana and his fellow musicians and the breadth of the band’s influences.  That in itself makes the concert well worth viewing.  The concert’s editing ensures even more, its appeal for viewers, as it is broken up into varying live and interview segments.  The bonus extended interview cuts that are featured with the recording put the final touch on the recording’s whole.  Each item discussed is important in its own way to the whole of the recording.  All things considered, they make Live at Us Festival one more welcome addition to the music libraries of Santana’s most devoted fans and of audiophiles in general.  More information on this and other titles from Shout! Factory is available online now at:

 

 

 

Website: http://www.shoutfactory.com

Facebook: http://www.facebook.com/shoutfactoryofficial

Twitter: http://twitter.com/ShoutFactory

 

 

 

More information on Live at Us Festival is available online now along with all of Carlos Santana’s latest news at:

 

 

 

Website: http://www.santana.com

Facebook: http://www.facebook.com/carlossantana

Twitter: http://twitter.com/SantanaCarlos

 

 

 

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘Africa Speaks’ Speaks Volumes About Carlos Santana’s Place In The Music Industry

Courtesy: Concord Records

Ten days.  That is how long it took veteran musician Carlos Santana and his fellow musicians to record their latest recording Africa Speaks.  The album — produced by Rick Rubin — was released June 7 through Concord Records, less than three months after Santana and company released the group’s three-song EP In Search of Mona Lisa.  In the mere weeks that have passed since the record’s release, it has already caused a division among listeners, with fans either loving or hating the recording.  Those who love the record, do so for the same reasons that its detractors have decried the album — the change in the group’s sound this time out.  The traditional Latin percussion sound to which listeners have become so familiar is replaced in large part by more African style drums (which is part of that African theme) and the arrangements are more complex than with past Santana compositions.  Santana himself even takes even more of a backseat than ever to his fellow musicians and guest vocalist Concha Buika, who provides vocals for the majority of the album’s 12 total songs.  The combination of Buika’s vocal talents with the talents of Santana and his fellow musicians goes a long way toward making the album in whole a strong, interesting new offering from the group.  The record’s lead single, ‘Breaking Down The Door.’  It will be discussed shortly.  ‘Los Invisibles,’ does just as much as ‘Breaking Down The Door’ to show the impact of Buika’s talents with those of Santana and company for this record.  It will be addressed a little later.  ‘Blue Skies’ is yet another example of how the combined talents of Concha Buika, Santana and his fellow musicians come together to create an engaging and entertaining recording in Africa Speaks.  When it is considered alongside ‘Breaking Down the Door,’ ‘Los Invisibles’ and the rest of the record’s entries, the album in whole becomes a work that listeners will agree speaks volumes about Carlos Santana and company in the best way possible.

Carlos Santana’s latest full-length studio recording Africa Speaks is a solid new offering from the veteran guitarist and his fellow musicians.  It is a record that speaks volumes about Santana’s place in the grand picture of the music community today.  That is proven in part through the record’s lead single ‘Breaking Down The Door.’  ‘Breaking Down The Door (ft. Buika)’ is a positive first impression from Carlos Santana’s forthcoming album Africa Speaks.  It is everything that audiences have come to expect from the veteran performer and his fellow musicians with its Latin-tinged sound.  The horns, bongos, congas, cabasa, drums and guitar and accordion are expertly balanced throughout the song thanks to the work of famed producer Rick Rubin (Johnny Cash, Run DMC, The Dixie Chicks), who helmed the album.  The song’s early bars create visions of nights in Havana which does somewhat go against the album’s theme of following African influences, but even with that in mind, still sets the song’s stage quite well.  The rest of the composition is certain to keep listeners engaged and entertained as the noted instruments join together for a work in whole that is quite easy on the ears.  It is just one of the song’s notable elements.

The song’s lyrical content is just as worth noting in examining the song as its musical content.  It is sung by famed Grammy®-nominated and Latin Grammy® Spanish artist Concha Buika (pronounced BWEE-KA), who comes in as a guest performer on this track.  Some of the lyrics are slightly difficult to decipher sans lyrics sheet, but enough is understood to realize the story in the song centers on a group of individuals’ relationships.  Buika starts out singing about a woman named Tina.  “Tina was no deceiver/Few were inclined to believe her/She was lucky to marry a rich, rich man/Handsome like Harry/Harry was a charmer/No one believed he would harm her.”  She continues in the song’s second verse, “The wedding was the talk of the town/The girl went down in a long white gown/They said she wanted to marry above her/All she wante was someone to love her/News came first/They called her a liar/Had no sound/Mouth full of wire.”

The story seemingly does not have a happy ending, as Buika sings, “In the end, Tina was buried/By the church where she got married/Tina should have outlived us/Now we pray that she will forgive us/Tina was no deceiver/Few were inclined to believe her.”  It would seem that in hindsight, this is a story about a young woman whose desire to be loved led to her being involved with someone who was not so nice.  It is inferred through the line stating Harry was a charmer and that no one thought he would hurt her, that likely he did in fact hurt her.  He apparently hurt Tina fatally.  One could almost argue that with this in mind, this song is a reminder for people to make sure they know who that other person is before getting completely involved with that person.  It’s hardly the first time that a song, such as this one has ever been presented.  Aerosmith, Garth Brooks and Nickelback are among the many acts who have crafted songs centered on the matter of domestic abuse.  The way in which it has seemingly been tackled here though, is a fresh new take on the topic, and just as certain to resonate with listeners.  That is thanks not just to the story, but the song’s arrangement, too.  Keeping all of this in mind, this song is a positive addition to Africa Speaks and just one of the record’s most notable entries.  ‘Los Invisibles,’ which immediately follows ‘Breaking Down The Door,’ is another example of the impact of Buika’s talents combined with those of Santana and company, and the overall impact of the album.

‘Los Invisibles’ stands out in part because of its musical arrangement.  Unlike ‘Breaking Down The Door,’ this song’s arrangement boasts much more of that African influence in its percussion elements.  At the same time, the use of the guitars and bass adds a bit of a funk vibe to the arrangement.  One could even argue there is a bit of a jazz influence in the song’s arrangement to boot.  That is a lot of different musical genres and styles, but Santana and company being the consummate professionals that they are, the group made those elements join together to make a whole that is undeniably one of the record’s best musical moments.  It is just one part of what makes the song in whole stand out.  The song’s lyrical content couples with its musical arrangement to make the song in whole stand out even more.

According to the English translation provided with the song posted to Santana’s official YouTube channel, the song focuses, lyrically, on a young man talking to his lady love about their forbidden love.  The translation shows the man sings to the woman, “Mari, Mari, Mari, don’t cry/When your mother found out about us/Said that she could not consent our love/Because I don’t have much money.”  The lyrics become rather redundant from here until the song’s finale in which the man sings to the woman, “Good night, miss/We are free like the wind.”  That finale line seems to be a statement of happiness, as if the man does not care what the woman’s mother thinks.  He sings “we are free like the wind,” as if to say “We can do what we want.”  This seeming statement would seem to add more clarity to the feeling in the song’s arrangement.  There is a certain sense of confidence in the arrangement, and considering the subject’s statements, it works well.  While it is another song that seems centered on relationships, it is the exact opposite of the story at the center of ‘Breaking Down The Door.’  In other words, it gives listeners something different to take in both lyrically and musically.  It is just one more of the songs featured in Africa Speaks that shows the record’s strength.  ‘Blue Skies’ is yet another example of the strength of Africa Speaks.

‘Blue Skies’ stands out in part because of its own arrangement, which is a stark contrast to the album’s other songs and even the pair already discussed here.  This song’s arrangement is more of a pure blues piece that also mixes in a touch of jazz.  The addition of Buika’s vocals adds that African element to the song, making the whole yet another of the record’s most notable entries if only for its musical side.  Its musical side is just one part of what makes it stand out, of course.  Its lyrical side adds even more interest to its whole.

The song’s lyrical content presents a message of clarity of mind and positivity.  That is made clear right from the song’s outset as Buika sings, “Don’t call me ‘lost’/That’s not my name/I got my feet on the ground and I see many colors and others/I burn all my loneliness under the ocean/Wash away fears and I/Burn all my loneliness under the ocean.”  She goes on in the song’s second verse, “I’m sending all my love to the blue skies/When light is raining over me/And then I remember the smile of my mama/When she thinks in the eyes of my grandma/When I feel that I’m lost/Don’t’ know where I belong/When a rose make my tears fall down/Nothing better than a blue skies/To cry over my memories.”  She adds, “Oh now there’s a magical shine in the moonlight/that reminds me those mystical moments/I remember that night when we’ve crossed far/that red line.”  She goes on in similar fashion through the rest of the song.  The end result is a song that is loaded with hope and positive vibes.  Those vibes are enhanced through the group’s musical arrangement, which exhibits so much emotion in its own right.  When the whole of the song is considered alongside the whole of the other songs discussed here, the trio proves solidly what makes this record a work that will in fact speak to listeners in the best way possible.  That is even more the case when they are considered alongside the rest of the album’s entries.  All things considered, the album becomes a work that is unquestionably one more of this year’s top new albums overall.

Carlos Santana’s latest full-length studio recording Africa Speaks is a record that speaks loud and clear about Santana’s place (and that of his fellow musicians) in the music industry today.  That is because it is yet another change of pace for the band that mixes elements of the group’s past works while also adding in a new element previously unused in the band’s past works.  The album’s lead single ‘Breaking Down The Door’ uses the band’s more familiar sound to create its own identity while ‘Los Invisibles’ adds more of the noted African element previously unused in Santana’s past records.  At the same time, it tells its own interesting story through its lyrical content.  ‘Blue Skies’ continues to present the positive vibes for which the band has been known throughout its life.  That is both in the song’s musical arrangement and its lyrical content.  Keeping this in considering along with the positives of the other noted songs and the rest of the album’s entries, the end result is a record that is just as strong as anything that Santana and company have ever released previously.  It is a record that says loud and clear, Carlos Santana and company are still among the music industry’s elite acts.  Africa Speaks is available now.  More information on Africa Speaks is available online now along with all of the latest news and more from Carlos Santana at:

 

 

 

Website: http://www.santana.com

Facebook: http://www.facebook.com/carlossantana

Twitter: http://twitter.com/SantanaCarlos

 

 

 

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Carlos Santana Speaks Volumes With His New LP’s Latest Single

Courtesy: Concord Records

Early this year, famed guitarist Carlos Santana and his band released a new EP to the world in the form of In Search of Mona Lisa.  While an enjoyable record in its own right, that five song (technically three-song, since two of its songs are just radio edits of two of the three originals) sadly was not as timeless as the famed painting, which was reportedly the inspiration for the EP’s originals.  That is because of those radio edits.  This summer, Santana will follow-up the release of In Search of Mona Lisa with a new full-length studio recording titled Africa Speaks.  Research into the 11-song record reveals its release date as June 7.  In anticipation of the album’s release, its debut single and album opener, ‘Breaking Down the Door (ft. Buika)’ is set to hit radio stations nationwide May 5.  The song is everything that audiences have come to expect from Santana and company in terms of its musical arrangement, which will be addressed shortly.  The song’s lyrical content is just as easily accessible as the song’s musical content, and will be addressed a little later.  Each item noted here plays its own important part to the whole of ‘Breaking Down The Door (ft. Buika).’  All things considered, they make the song a strong first impression for Santana’s new LP, and hopefully not the only positive part of the forthcoming album.

‘Breaking Down The Door (ft. Buika)’ is a positive first impression from Carlos Santana’s forthcoming album Africa Speaks.  It is everything that audiences have come to expect from the veteran performer and his fellow musicians with its Latin-tinged sound.  The horns, bongos, congas, cabasa, drums and guitar and accordion are expertly balanced throughout the song thanks to the work of famed producer Rick Rubin (Johnny Cash, Run DMC, The Dixie Chicks), who helmed the album.  The song’s early bars create visions of nights in Havana which does somewhat go against the album’s theme of following African influences, but even with that in mind, still sets the song’s stage quite well.  The rest of the composition is certain to keep listeners engaged and entertained as the noted instruments join together for a work in whole that is quite easy on the ears.  It is just one of the song’s notable elements.  The song’s lyrical content is just as worth noting in examining the song as its musical content.

The song’s lyrical content is sung by famed Grammy®-nominated and Latin Grammy® Spanish artist Buika (pronounced BWEE-KA), who comes in as a guest performer on this track.  Some of the lyrics are slightly difficult to decipher sans lyrics sheet, but enough is understood to realize the story in the song centers on a group of individuals’ relationships.  Buika starts out singing about a woman named Tina.  “Tina was no deceiver/Few were inclined to believe her/She was lucky to marry a rich, rich man/Handsome like Harry/Harry was a charmer/No one believed he would harm her.”  She continues in the song’s second verse, “The wedding was the talk of the town/The girl went down in a long white gown/They said she wanted to marry above her/All she wante was someone to love her/News came first/They called her a liar/Had no sound/Mouth full of wire.”

The story seemingly does not have a happy ending, as Buika sings, “In the end, Tina was buried/By the church where she got married/Tina should have outlived us/Now we pray that she will forgive us/Tina was no deceiver/Few were inclined to believe her.”  It would seem that in hindsight, this is a story about a young woman whose desire to be loved led to her being involved with someone who was not so nice.  It is inferred through the line stating Harry was a charmer and that no one thought he would hurt her, that likely he did in fact hurt her.  He apparently hurt Tina fatally.  One could almost argue that with this in mind, this song is a reminder for people to make sure they know who that other person is before getting completely involved with that person.  It’s hardly the first time that a song, such as this one has ever been presented.  Aerosmith, Garth Brooks and Nickelback are among the many acts who have crafted songs centered on the matter of domestic abuse.  The way in which it has seemingly been tackled here though, is a fresh new take on the topic, and just as certain to resonate with listeners.  That is thanks not just to the story, but the song’s arrangement, too.  Keeping all of this in mind, this song is a positive first impression for Africa Speaks and hopefully just one of many more positive impressions to come from the album.

Carlos Santana is set to launch a tour in support of Africa Speaks April 22 in Nashville, TN.  The tour is set to run through Nov. 10 and will include an extensive residency in Las Vegas, NV as well as performances in cities, such as Charlotte, NC; Phoenix, AZ and Los Angeles, CA.  The tour’s schedule is available online now along with another of the Africa Speaks‘ singles, ‘Los Invisibles’ and all of Carlos Santana’s latest news and more at:

 

 

 

Website: http://www.santana.com

Facebook: http://www.facebook.com/carlossantana

Twitter: http://twitter.com/SantanaCarlos

 

 

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

‘In Search Of Mona Lisa’ Is Enjoyable, But Leaves Listeners In Search Of More

Courtesy: Concord Records

It goes without saying that Carlos Santana is one of the greatest musicians in the modern history of music.  He has crafted countless hit songs that have led to just as many awards and garnered just as many fans around the world.  Late last month, Santana continued that ongoing success – sort of — with the release of his new EP In Search of Mona Lisa.  The record is enjoyable, but honestly, it does leaving one wanting for more, and not in a good way.  That is not to say that the record is a complete loss.  It does have some positives, one of which being the three original tracks that make up the majority of the 27-minute record.  They will be discussed shortly.  The other two songs featured on the record’s back side are the record’s most prominent negative.  They will be discussed a little bit later.  The EP’s other positive is its sequencing.  It will also be discussed later.  Each item noted here is important in its own way to the whole of In Search of Mona Lisa.  All things considered, they make this record its own enjoyable work of musical art, but not his most memorable work of musical art.

In Search of Mona Lisa is an interesting new offering from veteran guitarist and composer Carlos Santana.  While not his greatest work to date, it is not an entirely forgettable work.  That is thanks in part to the three original songs that make up the majority of the EP’s body.  Those three songs are ‘Do You Remember Me,’ ‘In Search of Mona Lisa’ and ‘Leaves From Another Time.’  What makes this trio of compositions stand out more than anything is their arrangements.  The first work is classic Carlos Santana.  It is a nine-minute-plus opus that while yes it conjures thoughts of the classic work ‘Guantanamera’ in its guitar line, the song’s overall composition is what makes it stand out.  It starts out so gently and relaxed, gradually adding in an extra layer approximately five minutes into the song with vocals and plenty of familiar Latin percussion (cabasa, bongos, congas, timbales and shaker) and subtle piano line.  Vocals and a bass line join in gradually, too, to make the song in whole a work that will have any listener dancing along happily.

The EP’s title track follows, and is quite different stylistically from ‘Do You Remember Me.’ This track, which barely tops the five-minute mark, sounds more akin to something that belongs on a Joe Bonamassa record than Santana.  That is evident through Santana’s infectious bluesy guitar line and the gritty vocal performance presented this time out.  Not having liner notes to reference, this critic cannot say for certain who the vocalist is, though it is certain that it is not Joe Bonamassa.  That aside, the distinctly different approach to this song’s arrangement versus that of ‘Do You Remember Me’ makes for a welcome change of pace that is certain to keep listeners engaged and entertained.  The song’s lyrical content is just as certain to keep listeners engaged, as the vocalist sings, “All the women of the world/Ain’t got nothin’ on her/When I stood in front of her/Lookin’ eye to eye/She said to me/Do you remember/When we were lovers/In another time/Here we are again/I can feel you heart/Deep in time with mine/Oh, it’s eternal love/I was searching/My Mona Lisa/My Mona Lisa.”  While it is said that this EP was centered on Santana’s interaction with the famed Mona Lisa portrait in Paris, this song obviously is about another Mona Lisa.  That adds even more interest to the song, and in turn shows even more why the EP’s main songs are so important to its whole.

While ‘Do You Remember Me’ and ‘In Search of Mona Lisa’ are both clear examples of why this EP’s primary songs are so important to the record’s overall presentation, they are not its only key compositions.  ‘Lovers From Another Time,’ the third and final original offering featured in In Search of Mona Lisa stands out in large part because of its own arrangement.  This work takes Santana’s familiar Latin sound and crosses it with an old-school 1960s lounge jazz style arrangement for a whole that is quite the surprisingly interesting work.  On the surface, one might not think such a hybrid composition would work, but it certainly does work here.  That is evidenced in the juxtaposition of Santana’s fiery guitar work and the subtlety of the piano and strings.  The drumming here is just as fiery as Santana’s work, with strong fills and solid time keeping throughout.  The result of the whole presents a sound that one could argue is a sort of fusion jazz arrangement.  Again, it is a change-up that keeps the record interesting and engaging for listeners.  When this work is considered along with its predecessors, the whole of these three songs creates a strong foundation for In Search of Mona Lisa.

While the three primary songs featured in In Search of Mona Lisa give the record a strong foundation, the two songs that follow make that same foundation a little bit shaky.  That is because despite the marketing from the people at Concord Records they are not original works.  Rather, they are essentially just radio edits of the EP’s first two songs.  The edit of ‘Do You Remember Me’ is a time-edited piece that opens where the vocals kick in during the original work.  In other words, the instrumental portion of the original is completely omitted here in this edit.  The edit of ‘In Search of Mona Lisa’ is more subtle, with the variances more difficult to notice, but it is cut back by almost a minute and a half in terms of its run time.  That means that plenty of content has been omitted from this cut in comparison to the final presentation.  Now on the one hand, it can be argued that adding these two edits to the EP is good because it creates more appreciation for the “final cuts.”  At the same time though, the variances between the edits and the originals are so minute that in reality, the edits become inconsequential, and in turn unnecessary.  Audiences have already spoken out, and correctly so, that it would have been better to have had two more original songs featured in the record than the two edits.  At least the people in Santana’s camp have finally stopped alleging the EP has five new songs, and pointed out that it only has three new songs.  Either way, at least audiences have the edits for the sake of comparison, if nothing more.  To that end, the record still could have gone just as easily without the edits as with.

While the songs featured in In Search of Mona Lisa are clearly key in their own way to the whole of the EP, they are just part of the record that should be examined.  The record’s sequencing plays into its presentation, too.  As already noted, the three primary songs that make up the bulk of this record are each stylistically different from one another.  That alone keeps the EP interesting.  Keeping in mind the songs’ stylistic variances, their energies are just as varied.  ‘Do You Remember Me’ is a relaxed, casual piece that moves along smoothly from start to finish of the more than nine-minute opus.  The relaxed vibe of that arrangement gives way immediately to the more upbeat vibe of the EP’s title track, which is just as danceable as the EP’s opener.  From there, the EP’s energy pulls back again with ‘Lovers From Another Time.’  This song’s arrangement returns the record’s energy back to that smooth, subtle feel presented in the record’s opener, letting listeners relax yet again.  The up and down of the energies here shows clearly that certain time and thought was put into the record’s sequencing.  It shows that the EP’s creative forces wanted to insure listeners’ engagement and entertainment.  That attention to detail paid off, too.  Keeping that in mind along with the songs’ arrangements, the two elements do plenty to make the EP a welcome offering from Carlos Santana, but certainly a work that leaves listeners wanting for more.

Carlos Santana’s latest studio recording, the five-song EP In Search of Mona Lisa is an enjoyable new offering from the veteran musician and composer.  However, it is also a record that leaves listeners in search of more from the world-renowned guitarist.  That is due to the two edits that are featured alongside the EP’s three original works.  Those original works, and their sequencing go collectively a long way toward the EP’s enjoyment.  Considered along with the issue of the edits, the EP in whole proves to be enjoyable, but not one of his greatest works of musical art.  In Search of Mona Lisa is available now.  More information on the record is available online now along with all of Santana’s latest news and more at:

 

 

 

Website: http://www.santana.com

Facebook: http://www.facebook.com/carlossantana

Twitter: http://twitter.com/SantanaCarlos

 

 

 

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.