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Brian's Corner

Bheki Mseleku Timelessness / January 1, 2019 What’s Old is New

On this first day of 2019 I’d like to wish everyone a Happy New Year. I hope this year brings you more joy than pain, and more victories than defeats. And thank everyone who decided to take a few minutes of their time and drop by the Corner.

Initially, I thought I might review a new (late 2018) album, seeing there is probably not a release in 2019 yet (watch 20 new CDs drop just as this is published). But as I was listening to some of the music I had uploaded to my old school iPod Classic, I kept coming back to this beautiful 1995 Bheki Mseleku CD release, recorded on the Verve label, appropriately titled Timelessness, and I thought that this is the perfect title of an album to do for the first review of the year. Music is a reflection of time, and time is just as integral to music as the notes and the spaces between the notes are, so it makes sense to check out an older CD that sounds as though it could have been recorded last week, and that is why I chose this album.

I have just recently discovered Bheki (and please, no comments saying things like “I can’t believe you just heard of the guy”). There are so many excellent artists out there, and I try to find players that I am not familiar with and who make good music. I figure if I like them, then there are many other people out there who would like then too. I heard one cut off of this Timelessness CD on the radio, (shout out to SiriusXM Real Jazz, and WZUM Pittsburgh), and I had to buy the thing and check out the rest of it; and I am so glad I did.

Bheki was born in South Africa and he played Piano, Sax, Guitar, and he composed and arranged music just as well. He died in 2008, 14 years after he recorded this amazing album. He was only 53 years old upon his death, but he left a legacy of music behind him that still has a broad influence in Africa, Europe, the UK and the U.S. It is evident that his influence is as timeless as this beautiful album is. His playing style is complex and thoughtful, extremely artistic, powerful and fresh. He sounds like he recorded this album yesterday, and not twentyfive years ago. And, when you check out the lineup on this CD, you see that he was well respected by the giants of the America jazz scene too. Talent respects talent. The album lineup reads as follows: Michael Bowie/bass; Marvin “Smitty” Smith drums; the great Abbey Lincoln/vocals on track 5; Kent Jordan/flute on track 4 & 8; Pharoah Sanders/tenor sax on track 6; Joe Henderson/tenor sax track 1; Rodney Kendrick/piano track 7; and none other than Elvin Jones /drums on track 9. With this level of talent, you dare not go wrong (because you can’t), and Bheki hit the mark dead center on this CD.

The first song on the CD is the title track Timelessness. This song features the quartet of Bheki, Henderson, Bowie and Smitty. It’s a straight-ahead cut that jams. Bheki’s piano play is forceful and true, and he leads this quartet in yeoman’s fashion. He exhibits a style that I can describe as dependable and timely and on this cut he puts in a full day’s work. His leadership is clear and true as he not only leads the bandmates here, but he composed and arranged every song on the LP including this one.

On this cut, the outstanding thing you’ll notice is the drum play of Smitty. Marvin “Smitty” Smith is an amazing inspired drummer. He keeps the beat impeccably, but his play is also laced with sophistication and awe-inspiring syncopation. He can easily be placed in the upper echelon of drummers not only in the field but within the broad history of jazz music itself, and, I feel that statement is not one bit of hyperbole. In fact, Bheki dedicates this song to Smitty; that’s the respect he had for this man’s ability, and that respect is well deserved. Smitty’s play undergirds the entire quartet and allows Bheki and Joe Henderson the freedom fly all over the place. The two feed off the drummer into heights of pure improvisational magic. They can do this because their flight is well grounded within the confines of a stellar rhythm section of this supremely tight band. As you listen to Bheki and Joe pontificate upon the theme you can feel them being egged on the smoking hot drum track that Smitty lays down. No drum machine yet designed can do what Smitty does here. This cut is a nine-minute tenor sax/piano symposium played by champions on an album of champions. And this first cut whets your appetite for what lies ahead.

The second cut on the fabulous CD is titled Yukani (Wake Up). On this cut Bheki plays not only the piano, but the tenor and soprano saxes as well. During his day, he often performed playing the piano and sax at the same time. I am not sure if that was the case on this cut, but what I am sure of is that this song is beautiful and inspiring. Here, Bheki reminds me of another of my favorite piano players, McCoy Tyner, and in fact, there is a tribute LP to both of these great two greats performed by an English jazz band named Hexagonal (you can bet I’m doing a review in the near future). Here Bheki uses the expansive chording technique that give Tyner’s music such an epic piano sound, and that’s exactly the effect that Bheki has here. It’s that style of play that seems to take the listeners beyond the here and now and transports them to parts unknown. This song is a journey, and the trip is exotic and awesome. We are transported to Apartheid South Africa, where we not only share in the struggle of the black people of the land, but we also share in the beauty of the natural surroundings. Micheal Bowie’s bass is magical and alive. It seems to transform itself into an instrument from an unknown culture and time; it transports us via feel and emotion in breathless anticipation of what comes next. This album is indeed magical, and one wonders why Bheki didn’t get his due here in the U.S. before he died.

I could write about every cut on this LP, but I don’t want to fatigue the reader, so I’ll jump to cut four C-Ton (Planet Earth). C-Ton begins in a waltz like fashion as the 6/8-time signature whirls around romantically. Kent Jordan’s flute solo is superb on this track. His playing is fresh, articulate and imaginative. He lends to the song a certain air of magic that sweeps the listener away. The effect is on the brink of being other worldly in sound and texture. The quartet of Jordan, Mseleku, Bowie, and Smitty create an interplay that is on par with any quartet in jazz history (I dare say), and the music is a masterpiece. Bheki’s piano solo gives us an insight into his improvisational mind as he scats and sings the notes that his right hand is commanding out of the keys. The sound is almost larger than the quartet, but at the same time it maintains that intimacy that quartets bring to the audience. All the while, Smitty and Bowie not only ground the two front men but lay down that groundwork with virtuosity. They are not just a rhythm section merely holding down the tempo, they add depth and musicality to their essential part in this 10 minute, 29 second epic work of art. It still amazes me that Bheki did not receive greater recognition in America before he died. He obviously was known and appreciated by his jazz musician contemporaries, but his name was not widely known to the general public State side. As so frequently happens, genius is usually not widely recognized until after the artist has passed.

Cut five is the only English speaking vocal number on the LP; its titled Through The Years. This ballad features the inimitable Abby Lincoln doing the vocals. In fact, Abby wrote the lyrics for this song. She is accompanied by a quartet of tenor sax, piano, bass, and drums. Smitty, and Bowie play drum and bass respectively, but the piano and sax are both played by none other than Bheki himself. Here we get a taste of what this multi-talented music master can do on the sax, and as you can hear, he knew a thing or several about the instrument. His playing is warm and full, and he’s not lacking in style or timbre. The voice of his tenor is distinct and full, and was not a novelty at all, but was an essential component of the fullness of the tune. And, once again, if you listen carefully, during the piano solo you can hear Bheki singing the notes that his right hand is playing. I don’t know if he even realized that he was doing it, but it seems as though he was completely wrapped up in his music. Unfortunately, I am not certain whether the track is overdubbed or Bheki is actually playing the sax and piano simultaneously when they are heard together, but whatever the case may be, the two instruments complement one another is expert fashion, and the overall effect makes this song just as haunting as Abby’s lyrics describe. This song rounds out a beautiful album and showcases Abby and Bheki’s command of their respective crafts.

The sixth song on this wonderful album is titled Yanini. This is a happy song, even joyous, and although its in a laid-back jazz style, the joy cannot be hidden or ignored. The song features the great Pharoah Sanders on tenor saxophone, and on this cut near the end, Bheki actually sings out load into the microphone! I don’t actually know what he says, but I do know that he is singing, and he sounds good too. This song has a calypso feel to it; it sounds like the islands; it dips and swings as it plays along in its groove-ful playful style. Pharoah is at his best; his playing marvelously clear and sweet in tone and texture. The song dances along, and it makes the listener want to dance along with it. The song is 11 minuets and 8 seconds long, and it seems to sweep by like a graceful parade. Its never dull or heavy, and the tempo and feel keep your feet tapping. Near the end as the tenor sax and the drums take the listener to the end, Pharoah is at his best. He plays grace notes to Bheki’s singing and the echo effect on his sax lends an organic sound of the island to the graceful dance. Genius in concept and performance, and some of the best music from the era.

Well, as you can probably tell, I could go on talking about this fantastic offering that Mseleku left us, but I’m nearing the limit of what I’m comfortable writing in one article. I could do more about the album in another article, but instead I’ll encourage you to do yourself a favor and listen to the whole thing on your own. I’m sure you, just like me, will be searching for more of Bheki Mseleku’s albums.

I have come to the end of another fun (for me, at least), article, and what’s more, I’ve come to the end of a year of writing (my first full year; we started mid 2017), and the beginning of a new year. I’m sure I’ve enjoyed this way more than you readers might, but I hope you got something out of it too, and I’d like to thank all of you for the time you spent here out of your busy day.

The entire staff of N-Motion Entertainment would like to thank everyone for their patience during the transition period from our old format into this new one. We apologize for the obvious growing pains you endured with us. We are doing and hope to continue doing a lot of exciting things with our platform. We continue to strive to bring you premium entertainment on stage, and on this magazine website. Please feel free to write your feedback in the places provided. Now that we have our new home, it will be much easier for us to reply to your quires and comments. And if you have anyone in mind that you would like us to bring to our fair city (or that you want me to hear and write about), feel free to let us know (no promise, but we will consider all suggestions).

I’d like to personally thank any and all readers of this article. I had a lot of fun doing it, and as strive to continue this endeavor, just know that I write with the reader in mind, and I write about the music I love; Jazz, Smooth Jazz, R & B, and even a little Hip Hop too, so….I’m open to suggestions (of the musical nature).

Let me also say I do not own the rights to any of the music, videos or photos used in this article, but I lean solely upon the Fair Use statute in the law for permission.

Thanks again for stopping by. Please tell your family and friends about the article, and remember,
Next time, “Catch you on The Corner”.

B. B. Suber

I’ve been a jazz lover for quite some time now; nearly as long as I can remember. I’ve always liked jazz in one form or another, and I grew to love it as my palate for music matured throughout the years. One of my earliest memories as a child was my then favorite song; “A Taste of Honey” by Herb Alpert and the Tijuana Brass. I heard it on the radio, and I was hooked. I was born in Pittsburgh in 1958, and reared in the Hill District, and back then, WAMO was only an A.M. station (they actually did a remote broadcast from a little store on Webster around the corner from my house), and while Motown was the rave, Stax records, and Soul music was the background music for life in the ghetto (and I lived in the “ghetto”; the Hill District), jazz was a constant undercurrent, a heartbeat of the vibrant life of the slums in which I lived. Until next time.... “Catch You on The Corner”!

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Brian's Corner

Christian Sands / Facing Dragons The sweet sound of the Sands of time. January 15, 2019 New 2018 Release

Twentynine year old pianist Christian Sands’ musical footprint is much larger than the number of years he’s accumulated on this planet. His sound is not only mature beyond his age, but his style and technique are timeless. I am not certain who his musical influences are, but as I listen, I hear an amalgamation of many of the great predecessors of the instrument and the genre.

A straight-ahead jazz man, Christian’s style not only encompasses that realm of the music, but he touches upon multiple genres to achieve his complexity and all the subtle nuances of his highly accomplished play. To be fair, there are many rising star pianists within the jazz, neo-soul, and smooth jazz designations, but none surpass the artistry, virtuosity, and exceptional compositional skills of this young man. In fact, all but one of the nine songs on this album were composed by Christian, and the one song that he didn’t’ compose is a reimagination of Paul McCarthy’s “Yesterday” (more on that one later).

Christian has a powerful left hand, speed, articulation, and he is conceptionally skilled and seasoned. His delivery denotes a sharp and practiced mind with a skill for not only what sounds good, but also what conveys the mood he wants his audience to feel. This young man has all the attributes of a master musician who (D.V.), will be an influential player for quite some time.

 Jerome Jennings

The first song on this CD is the aptly titled Rebel Music. I say its “aptly titled” because Christian attacks this song. His left hand begins the tune with a level of ferocity that assaults the listener with funk and drive; he and bassist Yasushi Nakamura groove on the intro, after which the two, along with drummer Jerome Jennings finally bring a small measure of rest to the listener’s psyche as they settle into the body of the melody. At this point Christian allows himself the opportunity to explore a nuanced sensitivity of thought and expression as his mind and keyboard explore the body of the composition. It’s beautiful and intriguing, and it’s rife with thought expressed within his impressionistic improvisations. The song feels as though it is being birthed at the exact moment you hear it; it’s virgin in its simplicity but mature in its complexity; it’s a balance that requires the soul of a master artist to achieve, and Christian achieves it with graceful ease. At times, this trio sounds much larger than the three players; their sound is broad, full and spacious; it fills the room with beautifully majestic sound. This introduction to this album is outstanding, and it’s a worthy listen for any music lover.

Next up is the exotic Fight For Freedom . This tumultuous tune is nearly hectic in its presentation. It seems to speak of not only the fight of the American black people’s struggle for freedom and equality, but also that same struggle of the South African black people and those of the African diaspora as well. The juxtaposition of African drums and western horn and piano seem to mirror the two worlds’ intertwined experience with the racial divide and struggle of a people who fought to be recognized as such.

 Trumpeter Keyon Harrold

The music itself, particularly the horns, play in a style reminiscent of the 1960’s. The horn section plays licks that are the echoes of many of the jazz bands of that era, and in fact, the entire composition screams of that time period, and the turmoil of those desperate years. Keyon Harrold plays a polished 60’s jazz era style trumpet, while Marcus Strickland responds with a desperately mournful saxophone. Christian’s epic playing style is reflective of a great pianist of that era (and the 1970’s), one of my favorites, Mr. McCoy Tyner. When taken in its entirety, this beautiful and sorrowful tune gives the listener a short journey into another era, and allows all of us to remember the struggle, and inspires us to carry the torch forward for the succeeding generations. Yes, you can get all of that from simply listening to a song with no words; that’s the magic of music.

The third song on this award worthy CD is Paul McCarty’s Yesterday. Christian initially plays this song in a pretty much straight up almost pedestrian style for a few bars but immediately channels his inner Ramsey Lewis and breaks into a funky groove right at the Chorus. The trio of Sands, Nakamura and Jennings are again featured on this song; they groove with a slow smoldering funk on an old tune. Bassist Nakamura’s playing is funky, cool and understated, and Jennings drum play is solid, groovy and tight as he lays down the tempo for the other 2/3rd of the trio to frolic upon (and yes, he frolics as well!). After the second chorus Christian takes flight into a passioned expansion on the theme. His play is not only excellent but it’s also creative and exuberant. He shows why he is one of the most sought-after young jazz pianists of this era. He emotes like most cannot. He feels the music and expresses himself through it with style and individuality. His play is remarkable and fresh. This is one of the brightest renditions of this song that I’ve heard in a long time. Truly excellent!

The forth song on the CD is Sangueo Soul. It’s a Calypso tune that makes you want to get off your seat and dance. It begins with a Jennings on the drum, and percussionist Cristian Rivera on the congas playing an afro Cuban beat that is worthy of any island in the Caribbean Islands, or the streets of New Orleans. They lay down a funky Calypso beat that guitarist Caio Afiune and Christian begin to groove on. After the first break Jennings introduces a bottom-heavy off beat interlude that Christian picks up and expands upon, all the while the congas pronounce an odd, almost halting Cuban beat with its voodoo feel that is central to the overall exotic feel of this tune. They again pick up the familiar Calypso beat and bring back the easy dance steps which introduce Roberto Quintero on the clarin horn. The effect is a party on the island with Christians remarkable left-hand counterpoint which accentuates the bouncing melody he plays with his right. The music dances and invites others to dance with it. This band becomes a dance band with world class level jazz chops. These boys unapologetically lay it down on this fun calypso tune.

Song number eight is titled Samba De Vela which can mean either Samba of the Sail, or Samba of the Candle (as Vela can mean either of the two). On this song Christian allows the smooth and mellow playing of guitarist Caio Afiune to take precedence. The tune has the most hint of the smooth jazz sound on this album, but it’s still heavy enough for straight jazz lovers too. Regardless, this is a beautifully quiet Samba. It dances and flows in gentle tranquility, just like a flickering candle, or a sail pulling a boat along a calm lake. Midway through this dance, Christian softly interjects with musical thoughts of his own, and then the two players combine in a duet that is calming and lovely. Throughout this interplay of piano and guitar, the steady and inspired presence of Nakamura and Jennings can be felt. These two underpin that tranquil mood expertly while Cristian Rivera’s percussion lends the Samba feel to the tune. This is the guitar’s song, and even during Christian’s solo, he underplays his role to allow the other instruments to shine in the front. This is song is another smooth curve on a well-rounded album; it’s another course in a fantastic memorable dinner.

The album closes with Rhodes to Meditation, and as the title hints at, the Fender Rhodes is the lone instrument on this tune. It’s a fitting way to close this album. The solo keyboard chimes as it plays its slow meditative benediction. Christian appropriately closes out this album in prayerlike fashion. It’s a final prayer of gratitude for such a fine effort and accomplishment, and although it stands alone in theme and concept on this CD, it does not feel out of place at all.

This is a very fine CD by an accomplished and award-winning pianist. It’s worth the money for any music lover, and I recommend it highly. I expect to see this CD in the Grammy nominations for 2018, and if its not, then that a knock of the Grammys and is no way indicative of the worthiness of this album. I am looking forward to more from this fine artist in the very near future, and I, for one, would love to see him in concert.

Well, I’ve come to the end of another article. It seems that the weeks fly by as I listen, enjoy, and write about the musical genre that I love. I sincerely thank any and all of you for joining me here on the corner to read and explore the music that I pick. Please feel free to leave comments in the section provided, and also feel free to recommend any album you’d like for me to check out.

I’m always open to hearing new music or enjoying artists that I’ve never heard of. If they fit the genre, I’ll even write a review on this site. And, if you think about it, remember to introduce your family and friends to the corner and to this site. We are excited as we see slow but steady growth in our venture, and we look forward to serving you for many years to come.

Also, let me state for the record that “I do not own the rights to any music or video used in this article, and rest upon the Fair Use clause within the law to do so”.

As this new year progresses, please be on the lookout for our upcoming events later in the calendar year. They will be advertised on this site, and as well as on WZUM Pittsburgh and SoulPitt magazine. We love bringing new and exciting artists to the city for our audience to enjoy. We will keep you abreast of coming attractions as the dates near.

Thank you all again for taking the time out of your busy day to stop by, and remember, Next time:
“Catch You on The Corner”!
B. B. Suber

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Brian's Corner

Kirk Franklin and The Family / Christmas December 25, 2018 Holiday Magic

With the advent of the Christmas season it would seem odd to me and many others, if I did not at least mention the music that encapsulates the holiday season. There are many singers and standards that I could mention, for instance, Nat King Cole/The Christmas Song; Vince Garaldi/Christmas Time is Here; John Coltrane/My Favorite Things; Donny Hathaway/This Christmas;  just to name a very few, but my absolute favorite Christmas album is performed and partially written by none other than Grammy Award winner Kirk Franklin, titled Kirk Franklin And The Family /Christmas, it was originally released in 1995 on Interscope records (although it has been reissued on many various years ever since).

One of the main reasons this album resonates so much with me (besides the beauty of the music), is that my children were kids when the album was first released. My eldest daughter who in now 29 (with children of her own) was only six, and my 27-year-old son (with children of his own), was only 3. As the years went by those two were joined by six other siblings, and one constant at Christmas time was this album. This album brings back so many memories for me, and for my children; our household never fails to play this CD at this time of year.

I have to chuckle when I see the album cover; Kirk looks so young and the clothes and hairstyles of he and the Family are classic 90’s “urban” chic. The album cover has the same effect of taking me back to that era, and the memories that the cover and the music evoke are powerful and warm. But although the clothes and hairstyles might appear dated, the music is still as relevant and rich as it ever was. There are eleven songs on the disc which makes this cd a full audio meal that can stands up to the challenge of being played from beginning to end. The recording is top notch too, so it sounds just as good as the day it was recorded which allows for enjoyable listening on today’s sound systems.

The first song on the CD is the classic Silent Night, but if you’re expecting the same version that you’ve heard since you were a child then you don’t know Kirk. Kirk is anything but dry and mundane. Kirk was raised in a Baptist church, but his music is reminiscent of the Pentecostal Church vein, so you can expect a slight difference in the delivery of the music, and Silent Night is no exception here. Kirk takes us directly to the island with his rendition of the classic. With the use of a steel drum, and a calypso beat, he revamps the classic into an Urban R&B tribute to his Lord. The song is delightful and soulful. Kirk never sings (although he has a very good, if not exceptional singing voice), he’s like that old preacher who, instead of singing, speaks the words of the song as the choir and congregation sing the lyrics. With the use of the tambourine, drums and a soulful organ, this song wraps you up in its warmth and mellowness. It’s a lovely song to begin the remarkable CD.

The second song on this CD was written by Kirk himself and its titled Now Behold The Lamb. This was the first song that I had ever heard from this album and it is one of the most profound songs on the disc. It’s a beautiful song that’s worthy of a place in the heart of any Christian music lover. What is impressive about this song (aside from its obvious beauty), is the Biblical accuracy of the lyrics. A lot of what passes for Christmas music is far from being considered Biblical, well this song is an exception. Hearing this song lets me know that Kirk is not only a music student, but a Bible student as well, and with this song Kirk takes the listener, both believer and unbeliever, into the true meaning of what has become, for many, a secular holiday. Kirk never strays far from his Pentecostal musical roots in anything he does, and that reality allows the listener to understand and experience the emotionalism of a lot of Urban gospel music, and the worship it accompanies within a large swath of that community. This song is unapologetically emotional and strong, and it hits the mark in its intention and delivers in a big way. Remarkable.

From that emotional pinnacle, Kirk brings us back down to earth with the funky groove of the third cut; Jesus Is The Reason For The Season. This song starts out calmly enough with the refrain of “Angels we have heard on High”, but then it does a quick 180 and becomes a straight PARTY!!! Kirk holds nothing back with the groove, the beat and funk as he lays it out for all to hear, and in a way that will make you not just want to pat your foot, but get up and bust a couple of moves too. He does not play on this song, he means to make you move and nod your head and does that ever so effectively. He wrote this song with a party in mind and all his licks and devices on it are borrowed from the music of the streets (Biggie, AWB and others), and brings the message down to the young at heart. There is a joy and an unrestrained energetic overflowing of creativity and love that you cannot ignore. But with all that explosive energy of music and sound, it (the song and the message), all comes back down to the real reason for the season, and if you listen to the song you cannot miss Him.

The sixth song on this CD is titled There’s No Christmas Without You. There are a couple of features of this song that set it apart as well as demonstrates certain trends within the modern Church and some of the various forms of worship. In the 19th century romanticism entered into a big part of American Christian music in the lyrics and the music, and that influence has carried on to a large extent into the 21st century. This song is demonstrative of that happenstance. The song has an almost sensuous feel to it. Its very warm and loving in an almost romantic way. The song has a slow beat with a warm bassline, and a sensuously beautiful tenor sax line. The liner notes do not tell me who the sax player is (my guess is it could be Kirk Whalum, but please don’t hold me to that), but it is one of the standout performances not just on the track, but on the entire album as well. Another feature of this tune is the warm keyboard and sensuous beat kept on the snare. But, in the context of the album this song works because when played within households of the consumer that warmth is translated into the love of the family, and that is what this album is all about. Kirk is no dummy and he not only understands his audience, but he fully understands the emotions he wishes to convey when this album is played, and he accomplishes that desire fully. Kirk is masterful in his music. He was a master at a very young age, and I am certain that mastery is still with him today.

Next in line is song seven, the carol O Come all Ye Faithful; written in the 1700’s by John Francis Wade (then titled Adeste Fideles). The remarkable thing about this track is how Kirk brought this song right to the twentieth (and now 21st), century. The mechanism used is the vehicle of romanticism that is heavily used within this album and within a lot of the church world today. This song is gorgeously done, and the refrain sung by the Choir “O come let us adore Him, kneel down before Him” lends itself to the romanticism conveyed within the music, but, at the same time, it lends itself to the regal-ness of the One to whom the song is addressed is conveyed at the same time. The modern touch within the music is carried by the bassline and the subtle conga drum that keeps the heartbeat of the song (a device used within a lot of Latin American music as well). The effect is a warm slightly upbeat song that carries with it the admiration and respect of believers. Kirk pulls this off in a way that almost only he can.

Silver and Gold is the last song on this CD. On it, Kirk gives a brief testimony of his youth, and his faith, and how much that faith means to him. The song, once again, effectively uses the vehicle of romanticism to convey the message of the song. The track also utilizes a deep bass synthesizer to carry the bottom register which sets the mood, and the Pizzicato stops on the synthesizer are used to accentuate spaces between the voices. The effect is a slow sensual beat that carries the song through to the end. This is the Pentecostal influence of modern Urban gospel music at its zenith. It’s a very short tune which effectively closed out this fine album. And as Kirk so apply states at the end of this tune; I hope you all had a Merry Christmas, and a Happy New Year.

Well, I come again to the end of another article. I cannot believe a year has so quickly gone by. Upon reflection over this last year, my mind comes back to the brevity of life, and the joy that music adds to it. But music is best appreciated when we appreciate it with others, particularly others whom we love. This album reminds me of that fact, and the last year of my involvement in the Pittsburgh music scene reminds me of that as well. I’ve seen many people come through at the parties and concerts sponsored by N-Motion Entertainment, and I am thankful to see you all enjoy yourselves so much. We all appreciate your patronage and support, and it encourages us to see you appreciate the product that we try to faithfully deliver. We will strive to continue to bring you top quality entertainment throughout the coming year, and I will strive to report on all the happenings that we are involved with, and also report of much of the fine recorded music I pray I will come upon in the coming months (D.V.).

Let me state for the record that I DO NOT own the rights to any music I have used in this or any other articles that I have written; I rest upon the “Fair Use” clause within the law to use them.

I’d like to thank any and all of you who have read my material within the last year. I realize that reading is becoming somewhat of a dying art, so the traffic I receive is greatly appreciated. Please tell all of your family and friends who enjoy reading to stop by and check me out. Please feel free to leave comments in the section provided, and if there is any music that you would like me to check out, please feel free to tell me about it as well.

Thank you all once, again, and remember, next time, “Catch You On The Corner”!

 

  1. B. B. Suber
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