{"id":3195,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/al-jarreau-all-i-got\/"},"modified":"2012-10-03T13:03:20","modified_gmt":"2012-10-03T20:03:20","slug":"al-jarreau-all-i-got","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=3195","title":{"rendered":"Al Jarreau &#8211; All I Got"},"content":{"rendered":"<div align=\"right\"><b><font size=\"4\" color=\"Blue\" face=\"Verdana, Helvetica\">Al Jarreau<br \/><\/font><font color=\"#0000FF\" face=\"Verdana\" size=\"3\">All I Got<br \/><\/font><\/b><font face=\"Verdana, Helvetica\" size=\"1\" style=\"font-face:verdana; font-size:8pt\">(GRP\/Verve &#8211; 2002)<br \/> by  Eugene Holley, Jr.<\/p>\n<p><\/font><\/div>\n<p>  <font size=\"2\" face=\"Verdana, Helvetica\" color=\"#000000\">  For people under the age of 30, its hard to convey the impact the Grammy winning Al Jarreau had on jazz vocalists when his &#8217;70s masterpiece, Look To The Rainbow, which contained his hit rendition of Dave Brubeck&#8217;s &#8220;Take 5.&#8221; Jarreau&#8217;s impossible vocalistics, his percussive, pre hip-hop\/human beat box effects and his silky, horn-like singing style slipped through jazz, R&amp;B and fusions categories like, as George Clinton said, &#8220;like an eel through seaweed.&#8221; Jarreau bridged the innovated Jon Hendricks&#8217;s vocalise concept and paved the way for Bobby McFerrin and Take 6.  <\/p>\n<p>  Though he&#8217;s had his share of hits like &#8220;Roof Garden&#8221; &#8220;Mornin&#8221; and   &#8220;Breakin&#8217;Away,&#8221; Jarreau has never reached the level of artistic success he   attained with Look to the Rainbow. Save for the fantastic 1990 album Hearts   Horizon, which for some reason was overlooked by everybody, the material   Jarreau surrounded himself with, not to mention the &#8220;NAC&#8221; radio formats he&#8217;s   forced to cater to, does not reveal his true genius.  <\/p>\n<p>  With his new CD, All I Got on GRP\/Verve Label, Jarreau&#8217;s sounsdscape is   improved, to some degree. He&#8217;s joined by a cadre of top-flight musicians   including keyboardists Freddie Ravel, bassist Chris Walker, drummer Jota   Morelli and  guitarist Ross Bolton. Produced by guitarist Paul Brown, All I   Got features Jarreau shadow boxing with lite, radio-rotation-friendly   numbers like Roy Jones in his latest fight. The bouncy &#8220;Random Act of Love&#8221;   with Siedah Garrett and the godly grooves of &#8220;Feels Like Heaven to Me&#8221; and   &#8220;Lost and Found,&#8221; with Joe Cocker,&#8221; are the best and the most emotional   performances on the record, while Jarreau&#8217;s Afro-pulsed scats swing on   &#8220;Jacaranda Bougainvillea,&#8221; which is dedicated to South Africa.  <\/p>\n<p>  For this writer, Jarreau&#8217;s solo tour-de-force rendition of Bobby Troup cut &#8220;Route 66,&#8221; which Nat &#8220;King&#8221; Cole made famous, brings out the best in   this gifted artist. Simply put, Jarreau is a one-man doo-wop band, with   every vocal part in the pocket. Perhaps this track, along with a more   acoustic-friendly setting, will show this generation the true heights that   Al Jarreau&#8217;s artistry can scale.          <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/font><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Al JarreauAll I Got(GRP\/Verve &#8211; 2002) by Eugene Holley, Jr.<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-3195","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3195","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3195"}],"version-history":[{"count":1,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3195\/revisions"}],"predecessor-version":[{"id":8799,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3195\/revisions\/8799"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3195"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3195"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}