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The Piano
Herbie Hancock
Jazz - Released June 21, 1979 | Columbia - Legacy
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Recorded after the funky fusion of Head Hunters, Thrust, Sextant, and other electric albums, and before the dawn of "Rockit" and more commercially viable and hip-hop-oriented material, Herbie Hancock took time out in 1978 to touch base again with his piano. Recorded completely solo, this set was issued only in Japan as the truly awful Feets, Don't Fail Me Now was issued stateside. A curious set, the first half of the album features Hancock playing jazz standards in truly elegant and restrained fashion. His treatments of "My Funny Valentine," "Green Dolphin Street," and "Someday My Prince Will Come" -- all tracks he performed as part of the Miles Davis Quintet -- are elongated, morphed, and beautifully woven together as a suite. The latter half of the recording is comprised of four tracks, "Harvest Time," "Sonrisa," "Manhattan Island," and "Blue Otani," all of which are originals. These pieces are concerned with Hancock's preoccupation with the piano as a solo instrument. They are composed as formalist treatments that are extrapolated upon at several different junctures, or "turning points," within them. They embody notions of classical music à la Anton Webern, blues, Erroll Garner's lyrical phrasing, and Bill Evans' harmonic sensibilities. They are, in sum, inseparable from one another and are usually performed as a suite. This is a stunning triumph for Hancock, and it's too bad that the album has never been issued in the U.S., as it would undoubtedly be a popular addition to his vast catalog. About the closest one can come are the tracks from here included in The Herbie Hancock Box. Maybe someday.© Thom Jurek /TiVo
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Wayne Shorter
Jazz - Released January 1, 1997 | Verve
Beyond category or idiom, audacious in its very idea, Herbie Hancock and Wayne Shorter perform a little over an hour of spontaneous improvised duets for grand piano and soprano sax. That's all -- no synthesizers, no rhythm sections, just wistful, introspective, elevated musings between two erudite old friends that must have made the accountants at PolyGram reach for their Mylanta. Hancock's piano is long on complex harmonies of the most cerebral sort, occasionally breaking out into a few agitated passages of dissonance. His technique in great shape, Shorter responds with long-limbed melodies, darting responses to Hancock's lashings, and occasional painful outcries of emotion. The leadoff track, "Meridianne -- A Wood Sylph," clearly takes off from a base of Satie to set the reflective mood for nearly the whole CD; only the final, brief "Hale-Bopp, Hip-Hop" offers a hint of comic relief. All of the tunes, save for Michiel Borstlap's "Memory of Enchantment," are Hancock or Shorter originals; some, like Hancock's "Joanna's Theme" (from the film Death Wish) and Shorter's "Diana," date back to the '70s. As avidly as this music was awaited and as wildly as it was acclaimed by critics, it doesn't really touch the emotions as deeply as the best of the pair's work together and apart. It stands as a graceful, high-minded anomaly in the output of both, but not something you would expect to pull off the shelf to hear too often.© Richard S. Ginell /TiVo
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Suavemente
Elvis Crespo
Pop/Rock - Released February 27, 1998 | Sony Discos
Elvis Crespo's Suavemente is a wonderfully seductive collection of romantic Latin ballads highlighted by "Nuestra Cancion," "Me Arrepiento," "Tu Sonrisa," "Yo Me Morire," "Llorando," "¿Porque?," "Te Vas" and the title track. [The CD was also released with a bonus track.]© Terry Jenkins /TiVo
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Sonrisa Salvaje
David Lee Roth
Hard Rock - Released January 1, 1986 | Rhino - Warner Records
This seldom-heard oddity in heavy metal singer David Lee Roth's catalogue is a Spanish-language version of his first post-Van Halen solo effort, Eat 'Em & Smile. The original release was a call to arms for the divided camps of Van Halen fans, and for those who felt that replacing Roth with Sammy Hagar was little more than a cruel joke, Eat 'Em & Smile validated their position with a strong band of crack players, equal amounts of humor and serious rock, and the best songwriting of Roth's entire career. The record is the perfect follow-up to 1984 that Van Halen couldn't deliver themselves, certainly closer to the spirit of the original band than anything recorded with Hagar. Sonrisa Salvaje (Wild Smile) saves all of the Eat 'Em & Smile artwork and backing tracks, with Roth overdubbing translated lyrics; unfortunately, the mix is not perfect and Roth's voice sounds disconnected from the music, floating in a sterile space above the band. Also, the Spanish words don't always fit seamlessly, sometimes hanging awkwardly over the edges of musical passages (particularly in "La Calle Del Tabaco" (Tobacco Road), betraying the compositions' English language origins. Still, any fan of Diamond Dave will appreciate this novelty and the gung-ho spirit that fueled its conception. Roth ends Sonrisa Salvaje with a satisfied chuckle, suggesting that he's entirely pleased with himself, having laid down the gauntlet for bilingual metalheads worldwide.© Fred Beldin /TiVo
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Ensemble
Kendji Girac
French Music - Released October 30, 2015 | Universal Music Division Island Def Jam
Suavemente...Los Exitos
Elvis Crespo
World - Released October 14, 2008 | Sony Music Latin
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Bailar El Viento
Manuel Carrasco
Pop - Released October 30, 2015 | Universal Music Spain S.L.
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Ensemble, le live
Kendji Girac
French Music - Released March 17, 2017 | Universal Music Division Island Def Jam
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Jose Jose - Buscando Una Sonrisa
José José
Bolero - Released April 24, 1971 | RCA Records Label
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Bajo la Piel
Leoni Torres
Salsa - Released February 3, 2007 | Legacy Recordings
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Colgado de tu sonrisa
David DeMaría
Pop - Released June 17, 2022 | WM Spain
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PIAZZOLLA: 4 estaciones portenas (Las) / BROUWER: Acerca del cielo, el aire y la sonrisa / ASSAD, S.: Uarekena (EOS Guitar Quartet)
EOS Guitar Quartet
Classical - Released January 1, 2004 | Divox
Even though Astor Piazzolla occasionally composed music for the guitar, a guitar quartet makes a strange medium for the transmission of his major works. The guitarists have to reproduce the percussive aspects of Piazzolla's tangos and also the key structural role played by the timbre of the accordion, all while playing all the notes. The arrangements on this Swiss release, by the members of the Eos Guitar Quartet themselves (each member arranges one of the Cuatro estaciones porteñas or Buenos Aires Four Seasons, with slightly different effects in each case), accomplish these goals, but the musical entities that result are more like variations on Piazzolla than most other classical arrangements of his music. This isn't a bad thing, and the album as a whole provides fresh testimony to the unusually protean quality of Piazzolla's music, but the listener should be prepared for, say, an almost bare opening that builds to an intense climax in which the four guitars are slapped and made to buzz at full blast. The organization of the program is ideal, with the four Piazzolla "seasons" (which were not composed as a single work) framing a variety of other Latin American works that were originally composed for guitars and are more idiomatic to the instrument. This sets off the rather strenuous quality of the Piazzolla pieces. Among the large number of European adaptations of Piazzolla's music, this is one of the more experimental. The music is beautifully recorded, and brief notes are provided in German, English, and French.
© TiVo
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