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Jazz Articles about Gerald Albright
Amber Weekes: A Lady With a Song
by Katchie Cartwright
Irving Berlin wrote “Suppertime" (aka “Supper Time") for As Thousands Cheer (1933), a topical revue with several stars and many musical numbers. Ethel Waters introduced it, making history as the first African American woman to star on Broadway. Berlin wrote it specifically for Waters, who also sang his lighthearted “Heat Wave" in the show. “Suppertime" has a more serious story, told in the voice of a woman who--while making dinner--must find a way to tell her children that ...
Continue ReadingAmber Weekes: A Lady With a Song
by Richard J Salvucci
It is difficult to know exactly what to do with a recording like this. Amber Weekes is a very good singer, and from the outset, she calls this a “celebration" of Nancy Wilson, not an imitation or a recreation. You can hear Wilson's influence throughout: her articulation, occasional staccato delivery, deep sincerity and emotional heft come through in Weekes' recording. And a good recording it is, make no mistake. Anyone who enjoyed Wilson, or any good female vocalist, will enjoy ...
Continue ReadingRandal Clark: Imaginary World
by Jim Worsley
Randal Clark's Imaginary World stretches beyond the conscious boundaries and illuminates the dark corners. It's clear from the onset that it is steeped in jazz tradition with a giant foothold on both rhythmic and melodic foundations. Clark establishes himself early and never lets go. Too often a buoyant blast off can ultimately fade away into the abyss of both the imaginary and conscious recesses of the mind or a once steaming groove can melt into the wallpaper. Even the most ...
Continue ReadingGerald Albright and Norman Brown: 24/7
by Jeff Winbush
No instruments dominate smooth jazz more than the guitar and saxophone, which is why Gerald Albright and Norman Brown, two of the genre's most dominant players, make such an inspired pairing. Both musicians are on the top of their game and while 24/7 breaks no new ground, it does provide perfect listening for warm summer nights when a cool groove is required.Multi-instrumentalist Albright's array of saxophones and robust tone tends to slightly overshadow Brown's deft guitar playing at ...
Continue ReadingGerald Albright: Pushing the Envelope
by Woodrow Wilkins
Whether the economy, the climate or war, the world faces a multitude of crises. During times like these, music can be a valuable healing force. Saxophonist and producer Gerald Albright takes that approach with Pushing the Envelope. Albright counts saxophonist Maceo Parker and Julian “Cannonball" Adderley among his influences. His career has included work as both a band leader and a sideman. Among his associations are Anita Baker, Ray Parker, Teena Marie and Maurice White. For Pushing the ...
Continue ReadingGerald Albright: Sax for Stax
by Woodrow Wilkins
It's all about Memphis with Gerald Albright's Sax for Stax. The veteran saxophonist revisits the sounds of the 1960s and '70s that helped define a label and, to a certain degree, a generation of soul musicians. A native of Los Angeles, Albright has effortless straddled the line between jazz and R&B, making music that is easily accepted by fans of one genre or the other. His inspirations include such tenor sax legends as John Coltrane and Eddie Harris, ...
Continue ReadingGerald Albright: New Beginnings
by Woodrow Wilkins
The best songs on New Beginnings come before the midway point. Even so, the rest isn't bad. With a variable lineup of sidemen, including Walter and Wallace Scott of the Whispers, Jeff Lorber and Paul Jackson Jr., Gerald Albright delivers a nice mix of smooth jazz and instrumental soul grooves on his Peak Records debut. Albright began professionally by touring with keyboardist Patrice Rushen, who appears on the title song, and becoming a first-call fixture by other ...
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