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Quick and to the Point: Cool-Jazzy-Loungy-Swinging vocals. .
One meets a sociable toned singer’s take on straight-up jazz in Martini & Rocket.
All the compositions, except for “Making Whoopee”, are Christie's. The opener, “C’Mon, C’Mon” – with its free spirited head, cool and hip muted trumpet– steers directly toward steady head swinging. Its muteness will return in the swinging cut “Told You Once,” to great effect and solo capabilities, while the rhythm section burns the track. Christie’s voice, tone, delivery and rhythmic notions are as midranged as they are mainstreamed. That’s to say that his midrange tenor jazzy undertakings are not on the edge of anything. His work is squarely centered in recognizable devices and comfortable listening experiences derived from the blues, jazz and similar traditions.
For instance, framed with excellent accompaniment, such support from the guest musicians enhances the brushed masculine romance encountered in the group's rendition of “Making Whoopee.” The force is strong in this one. Just as he does throughout the rest of the recording, pianist Jordan Baskin invites a whoopee mood with strongly harmonic, sensual playing. In “Ain’t Got You Yet,” funk is in and the Ben Willis bass lines are sweeeet. “One More Reason (Island Style)” is peppy and Christie seems to relive his experiences in Puerto Rico. They have some beachy urban fun with this one. Even a classical cello led piece is included in “Sick of It All.”
Martini and Rocket straight up...
Contact: Rudder Unlimited Audio/P.O. Box 161 Lake Forest, IL 60045 Tel./Fax: 847.432.4706 E-Mail: firstname.lastname@example.org
Track Listing: 1. C
Personnel: Vocals & Vision: Rae Christie. Guest Musicians: Bass: Greg Geary
(1,3,7) Josh Thurston-Milgrom (2,6) & Ben Willis (4). Cello: Eric Remschneider. Drums
: Kobie Watkins (1,2,3,4,6,7). Piano: Jordan Baskin. Trumpet: David Young
Year Released: 2002
| Record Label: Rudder Unlimited Audio
| Style: Vocal
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.