Normal
0
21
false
false
false
MicrosoftInternetExplorer4
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:”Tabla normal”;
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:””;
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:”Times New Roman”;
mso-ansi-language:#0400;
mso-fareast-language:#0400;
mso-bidi-language:#0400;}
They
include Tom Fillman on drums, a member of the American version of the Spencer
Davis Group, and who has recorded with Kris Kristoffersson, Mick Taylor and
Booker T. Jones, among many others; the bass player Bobby Tsukamoto, who used
to belong to the Jesse Ed Davis band, and who is now a member of the Kirk
Fletcher Band; the trombone player Duane Benjamin, an institution as he has
recorded for the legends of jazz (Count
Basie Orchestra, Stanley Clark, The Gerald Wilson Orchestra), soul (Marvin
Gaye, The Temptations, The Four Tops, Diana Ross, Earth, Wind & Fire) and
pop (Michael Jackson); and the keyboard player Rich Wenzel, who has been all
over the USA over the last 30 years and shared the stage with The Doors, Van
Morrison and Frank Zappa. What is more, Wenzel owns Ardent
Audio Productions, the studios where the album was recorded under his technical
direction.
Normal
0
21
false
false
false
MicrosoftInternetExplorer4
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:”Tabla normal”;
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:””;
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin:0cm;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:”Times New Roman”;
mso-ansi-language:#0400;
mso-fareast-language:#0400;
mso-bidi-language:#0400;}
Hermosa Beach
has the genetic code of the best black music in the United States: the
production is brilliant, the contribution of the musicians excellent. In this
respect, a highly powerful wind section led by Duane Benjamin, who handled the
arrangements, stands out and the level of the compositions is high –mostly Jogeix
originals, some with the help of Jeff Espinoza (Red House). Besides the four
personal, amazing adaptations of Jesus Gonna Be Here (Tom Waits), Didn’t
It Rain (traditional song popularized by Mahalia Jackson), Give Me
Back My Wig (Hound Dog Taylor) and Ain’t No Stoppin’ (Frederick
Neal) , a whole declaration of intents of Gaby Jogeix, who comes across as
unstoppable right from the start. In fact, from that point onwards Jogeix rides
roughshod over the listener, who has no choice but to enjoy the restrained funk
of Boom da Boom or Getting Dizzy, the latter on a wavelength
close to Maceo Parker, the Sacred Steel gospel sound of Down at Marinette’s,
passing through the dobro (Didn’t It Rain), the ballads of a classical
flavour in which Jogeix’s excellent voice and singing style sound even warmer (Sometimes),
or items more suitable to dance to and energetic like the Southern Give Me
Back My Wig and Shake, Shake.
Hear: Shake, Shake
