:.i.n.f.o..........................................................:
artist: buckshot lefonque
album: buckshot lefonque
genre : jazz+funk
streetdate : aug-02-1994
source : cdda
grabber : EAC
encoder : lame 3.90.3
quality : VBRkbps / 44,1kHz / joint-stereo
company : Columbia
catalognr : 57323
url : n/a
..t.r.a.c.k.s.........................................................
01. ladies & gentlemen, presenting ... [01:14]
02. the blackwidow blues [06:11]
03. i know why the caged bird sings [08:06]
04. mona lisas (and mad hatters) [04:49]
05. wonders & signs [05:34]
06. ain't it funny [06:45]
07. some cow fonque (more tea, vicar ) [05:13]
08. some shit @ 78 bpm (the scratch opera) [02:11]
09. hotter than not [04:21]
10. breakfast @ denny's [06:26]
11. shoot the piano player [00:11]
12. no pain, no gain [05:28]
13. sorry, elton [00:26]
14. ... and we out [02:08]
15. breakfast @ denny's (uptown version) [04:20]
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63:23 min
88,0 MB
..n.o.t.e.s...........................................................
Review by Richard S. Ginell
Lots of records are touted as breakthroughs by the hype
machines and spinmasters, but this one really is -- a
marvelously playful and, above all, musical fusion of the
old jazz verities and newer currents swirling around the
1990s. "Buckshot LeFonque" was a pseudonym for Cannonball
Adderley in the 1950s, and you'll squint long and hard
trying to find Branford's name on the jacket and cover
except for the tiny note, "Produced by B. Marsalis." Maybe
he was hedging his bets against the expected (and received)
flak from the jazz purists, but the reality is that he has
found a brilliant way to fuse hip-hop rhythms with
mainstream jazz licks without compromising either idiom.
The best number is a lovely setting of Maya Angelou's poem
"I Know Why the Caged Bird Sings," with absolutely gorgeous
soprano by Marsalis, some great Miles-tinged muted trumpet
from Roy Hargrove, and Angelou reciting her words against
the big electronic backbeat. The free-thinking Branford
also injects real funk into Elton John's "Mona Lisas (And
Mad Hatters)"; throws in a little reggae, rap, and lots of
sampling; gets down and dirty with Kevin Eubanks' slide
guitar on the truckin' cut "Some Cow Fonque"; and unifies
most of the package with a couple of recurring, catchy
riffs and touches of horseplay. The only misfire is a
totally incongruous, totally dull soul ballad called "Ain't
It Funny" (sung by Tammy Townsend) that sounds as if
someone suddenly switched CDs on your changer.
Nevertheless, regardless of what the neo-boppers might say,
this is a more imaginative record than any of Branford's
estimable straight jazz projects -- and a lot more fun.
Biography by Richard S. Ginell
When Branford Marsalis decided to stir up a little trouble
in 1994 by juxtaposing and fusing mainstream jazz with
hip-hop rhythms, rap, R&B, rock, reggae, and half a dozen
other idioms, he chose to present his new music under the
group name Buckshot LeFonque. This fanciful moniker is
actually a resurrection of a pseudonym Cannonball Adderley
used in the 1950s when moonlighting on a record label other
than his own. The group's eponymous first album, a
brilliant, playful, musically rich realization of this
anything-goes fusion unfortunately drew a lot of fire from
critics in every genre, a situation that Marsalis lamented
on the group's equally eclectic yet less striking second
album Music Evolution. Nevertheless, Marsalis was so
enthused by his new group that he left his high-profile job
as bandleader of the Tonight Show in part so that he could
tour with Buckshot LeFonque in 1994-1995. The 1997 edition
of Buckshot, as heard on Music Evolution, contains a
nucleus of Marsalis (saxophones, keyboard, and drum
programming), DJ Apollo ("wheels o' steel"), Frank McComb
(vocals, keyboards), Carl Burnett (guitar), Russell Gunn
(trumpet), Reginald Veal (bass), Rocky Bryant (drums), and
50 Styles: the Unknown Soldier (rap vocals). Of all of
Marsalis' diverse pursuits, none project his unique
combination of virtuosity and irreverence as completely as
Buckshot LeFonque.
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