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Marcus Johnson - Chocolate City Groovin' (1998)

Jazz | Author: indeep1 | 7-03-2021, 00:41
Marcus Johnson - Chocolate City Groovin' (1998)
Artist: Marcus Johnson
Title Of Album: Chocolate City Groovin'
Year Of Release: 1998
Label(Catalog#): Encoded Music[43092 ERE]
Country:USA
Genre: Jazz, Smooth Jazz
Quality: FLAC (tracks + .cue,log,scans)
Bitrate:Lossless
Time: 50:13
Full Size:356 MB(+3%)

Tracklist

1. Chocolat City Groovin'
2. Out of Somewhere
3. 88 Ways to Love
4. Morning Light
5. The Neck Factor
6. Doc's Groove
7. Won't You Let Me Love You
8. 'Til the Cops Come Knockin'
9. Maxin
10. It's So Nice
11. Morning Light [Instrumental]

personnel :

Marcus Johnson - piano, electric piano, Fender Rhodes piano, keyboards, programming, keyboard programming, bass programming
Alyson Williams - vocals, background vocals
Tate Moss - vocals
Stan Cooper - guitar
Marshall Keys - saxophone
Bryan Mills - saxophone
Glenn Douglas - piano, keyboards
Gerald McCauley - electric piano, synthesizer, background vocals
Tony Weldon - synthesizer, drum programming, background vocals
Enzo Todesco - midi drums
Eric Valentine - drums
Kevin Stixx - drums
Chris Walker - percussion
Bryan Roberts - background vocals
Angela Stribling - background vocals
Kissie Thomas - background vocals

Electric and acoustic pianist Johnson from D.C. is a Ramsey Lewis wannabe in a Sun Goddess phase -- his simplistic, unchallenging melodies are pleasant enough, but come closer to disco than real R&B. Of these 11 cuts, they are even borderline on smooth jazz content. It's evident from the first three tunes -- the title track, "Out of Somewhere," and "88 Ways to Love," all easy dance grooves -- that the influence of Lewis is quite pervasive. Johnson goes it alone on "88" with multiple keyboard programming overdubs. He actually sounds good on Fender Rhodes for the cool funk "The Neck Factor," but also sounds outdated. He's more upbeat on "Doc's Groove" and "It's So Nice"; the former is predictable with snarly guitar from Stan Cooper, and the latter has a tick-tock rhythm that comes closer to authentic R&B. Tenor saxophonist Marshall Keys injects some real jazz into "'Til the Cops Come Knockin'," a rather disturbing song title unto itself, while Bryan Mills' faded bursts of sax sound set up a nice unison sax-piano vibe for the contemporary "smooth" ballad "Maxin'." Vocals are taken by Alyson Williams for the slow post-sex tune "Morning Light," while the supposed "instrumental" version of the same piece indeed has vocals. Johnson himself takes the mic and cops a Stevie Wonder/George Benson stance on "Won't You Let Me Love You." A pretty bland, formulaic, lazy "effort" all in all, and it's not likely to have much staying power.~Michael G. Nastos
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  • #1: raf2000 (6 March 2021 14:46)

    group: Visitors
    registration: 1.03.2021
    Non funziona collegamento...
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    #2: swint68 (6 March 2021 19:38)

    group: Editors
    registration: 4.05.2010
    raf2000,

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