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Richard Elliot|After Dark

After Dark

Richard Elliot

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Langue disponible : anglais

Some might dub Richard Elliot the James Brown of contemporary jazz for the way his tenacious tenor exploded around some of the freshest R&B tinged hooks in the genre. After more than a handful of albums, the moniker still applies, though it is slightly maddening that he seems to best maintain his popularity by refusing to stretch beyond the simple energy that originally garnered it. After Dark is trademark Elliot -- a rich and urgent flow over essentially generic melodies and typical pop-jazz production. A pop cover here ("Bridge Over Troubled Water"), a vocal there. But where's the spark? He certainly teases us, slamming some horns, hip-hop and improv on the best cut, "The Boys From The Bay," and shifting gears towards the breezes of Latin America on "El Anio." A later house mix number ("So Special") perfectly captures the trend towards fusing traditions with boom box excitement. But between these gems is a sea of so-so material that, while certainly easy to listen to, once again fails to capture the fire of Elliot's explosive live shows. Then again, the feeling might be that it's worked well for seven albums, why mess with crowd pleasing success?

© Jonathan Widran /TiVo

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After Dark

Richard Elliot

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1
Street Beat
00:04:37

Richard Smith, Guitar, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Mixer, StudioPersonnel - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Percussion, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

2
Song For Her
00:03:06

Kurt Lundvall, Mastering Engineer, StudioPersonnel - Eli Wolf, Engineer, StudioPersonnel - Richard Elliot, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Engineer, StudioPersonnel - Cliff Downes, Composer, Producer, Engineer, Musician, AssociatedPerformer, StudioPersonnel

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

3
As I Sleep
00:04:59

Richard Smith, Guitar, Mandolin, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Mix Engineer, StudioPersonnel - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Percussion, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

4
After Dark
00:04:23

Richard Smith, Guitar, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Mix Engineer, StudioPersonnel - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Percussion, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

5
El Anio
00:05:13

Richard Smith, Guitar, AssociatedPerformer - Louis Conte, Percussion, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Percussion, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

6
Tonight
00:04:04

Richard Smith, Guitar, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Mix Engineer, StudioPersonnel - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Keyboards, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

7
On The Run
00:05:28

Richard Smith, Guitar, AssociatedPerformer - Louis Conte, Percussion, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Mix Engineer, StudioPersonnel - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Percussion, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

8
If Tomorrow Never Comes
00:04:22

Frank Wildhorn, Composer - John Andrew Schreiner, Performer, AssociatedPerformer - Tony Peluso, Producer, Recording Engineer, Mix Engineer, StudioPersonnel - Danny Alonso, Asst. Recording Engineer, StudioPersonnel - Richard Elliot, Tenor Saxophone, MainArtist, AssociatedPerformer - Jeffrey Osborne, Vocals, AssociatedPerformer - Steve Bbarri, Producer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

9
Hold Me Tight
00:04:34

Richard Smith, Guitar, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Mix Engineer, StudioPersonnel - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Percussion, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

10
Bridge Over Troubled Water
00:05:15

Paul Simon, ComposerLyricist - Kurt Lundvall, Mastering Engineer, StudioPersonnel - Eli Wolf, Mastering Engineer, StudioPersonnel - Richard Elliot, Tenor Saxophone, MainArtist, AssociatedPerformer - Cliff Downes, Producer, Engineer, Musician, AssociatedPerformer, StudioPersonnel

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

11
The Boys From The Bay
00:05:03

Richard Smith, Guitar, AssociatedPerformer - Tower Of Power, Horn, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Mix Engineer, StudioPersonnel - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Percussion, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

12
Candlelight
00:04:39

Richard Smith, Guitar, AssociatedPerformer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer - Mark Mason, Mix Engineer, StudioPersonnel - Chris Eads, Engineer, StudioPersonnel - Ron Reinhardt, Keyboards, AssociatedPerformer - Naoki Yanai, AssociatedPerformer, Bass (Vocal) - Dave Reinhardt, Drums, Percussion, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

13
So Special
00:03:55

Bill Klatt, Engineer, Mix Engineer, StudioPersonnel - TODD TERRY, Composer, Producer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

14
Slow It Down
00:04:49

Bill Klatt, Engineer, Mix Engineer, StudioPersonnel - TODD TERRY, Composer, Producer - Richard Elliot, Composer, Producer, Tenor Saxophone, MainArtist, AssociatedPerformer

(C) 1994 Blue Note Records ℗ 1994 Blue Note Records

Chronique

Some might dub Richard Elliot the James Brown of contemporary jazz for the way his tenacious tenor exploded around some of the freshest R&B tinged hooks in the genre. After more than a handful of albums, the moniker still applies, though it is slightly maddening that he seems to best maintain his popularity by refusing to stretch beyond the simple energy that originally garnered it. After Dark is trademark Elliot -- a rich and urgent flow over essentially generic melodies and typical pop-jazz production. A pop cover here ("Bridge Over Troubled Water"), a vocal there. But where's the spark? He certainly teases us, slamming some horns, hip-hop and improv on the best cut, "The Boys From The Bay," and shifting gears towards the breezes of Latin America on "El Anio." A later house mix number ("So Special") perfectly captures the trend towards fusing traditions with boom box excitement. But between these gems is a sea of so-so material that, while certainly easy to listen to, once again fails to capture the fire of Elliot's explosive live shows. Then again, the feeling might be that it's worked well for seven albums, why mess with crowd pleasing success?

© Jonathan Widran /TiVo

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