{"id":4485,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/brian-jackson-gotta-play\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"brian-jackson-gotta-play","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=4485","title":{"rendered":"Brian Jackson &#8211; Gotta Play"},"content":{"rendered":"<p align=\"Right\">  <img decoding=\"async\" src=\"https:\/\/jazzusa.com\/storypix\/gottaplay.jpg\" alt=\"Gotta Play\" align=\"Right\" hspace=\"8\" vspace=\"2\"\/><font size=\"2\" color=\"Blue\" face=\"Verdana\">Gotta Play<\/font><br \/><font size=\"4\" style=\"font-face:verdana; font-size:14pt\" color=\"Blue\" face=\"Verdana, Helvetica\">  Brian Jackson<br \/><\/font>  <font face=\"Verdana, Helvetica\" color=\"#000000\" size=\"1\">   (Roberts Music Group)<br \/> by Raymond Redmond  <\/font><\/p>\n<p><font face=\"Verdana\" size=\"2\">  The jazz\/funk music of <i>Gil Scott-Heron and Brian Jackson<\/i> had a strong influence on the music scene in the 70&#8217;s and 80&#8217;s because it was well written, well performed and often controversial. Brian&#8217;s new CD has two of those elements in abundance&#8230;strong compositions and smooth vocals.<\/p>\n<p><i>Parallel Lean<\/i> features the unique vocalization\/poetry of Jackson&#8217;s former band-mate <i>Gil Scott-Heron<\/i> and quickly segues into a new rendition of <i>Home is Where the Hatred Is<\/i>, one of the all time Heron-Jackson classics. They do it with all of the fervor and emotion that made the song a hit in the first place.<\/p>\n<p><i>Yada Yada<\/i> is my favorite track on the CD. All silky-smooth keyboards and background vocals with <i>Don Martin&#8217;s<\/i> raw bass line punctuating it from the very start, this is a funky piece. Written by the group, it features <i>Trevor Holder<\/i> on drums and <i>Num Heru-Ur Shutef Amun&#8217;Cehu<\/i> on percussion and vocals.<\/p>\n<p>  The title track <i>Gotta Play<\/i> features vibraphonist <i>Roy Ayers<\/i>is heavily Ayres-influenced with it&#8217;s background chorus, vocal\/vibe scatting and the inevitable, stylish vibe solo. <i>Moody Too<\/i> is slow and sweet with Brian&#8217;s <i>George Duke-like<\/i> synthesizer stylings, spilling into a sweet saxophone set by <i>David Mullen<\/i> and back again. <i>Feelin&#8217; You<\/i> is more of an R&amp;B tune and seems targeted for the radio audience. <i>Free 4 Fall<\/i> is bright and up tempo and features some clever piano work.<\/p>\n<p>  The remake of the <i>Gap Band&#8217;s<\/i> R&amp;B hit <i>Outstanding<\/i> left me a little flat. The off-key lead by <i>Charlie Wilson<\/i> on the original made it unique, and he was able to pull it off, but here it becomes a bit annoying. <i>Roy Ayres<\/i> vibes are the bright spot in the tune but are not enough to save it.<\/p>\n<p>  On the whole this is a very enjoyable release. Fans of the old Heron-Jackson releases will feel right at home, and there is enough new stuff to make it an interesting and enjoyable listen.  <\/font><\/p>\n<p>  For more information or to listen to more <b>Audio Samples<\/b> visit the <a target=\"_blank\" href=\"Http:\/\/brianjacksonmusic.com\">Brian Jackson Web Site.<\/a>  \t          <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gotta Play Brian Jackson (Roberts Music Group) by Raymond Redmond<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-4485","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4485","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\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4485"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4485\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4485"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4485"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4485"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}