{"id":4930,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/the-rippingtons-live-across-america\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"the-rippingtons-live-across-america","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=4930","title":{"rendered":"The Rippingtons – Live Across America"},"content":{"rendered":"

The Rippingtons
<\/font>Live Across America<\/font><\/b>
(Peak – 2002)
by Ricky Miller<\/font><\/p>\n

Like the venerated rock group Steely Dan<\/i>, The Rippingtons<\/i> is not really a band, it’s just Russ Freeman<\/b> and the company he’s keeping at the time. When it comes to smooth jazz, Rippingtons<\/i> has put out it’s share of everlasting tracks including Welcome To The St. James Club<\/i> and the classic She Likes To Watch<\/i> from Moonlighting<\/i>, the very first Rippingtons album. On this release there are a selection of tracks recorded on their 1999 ‘Topaz’ and 2000 ‘Life In The Tropics’ tours. <\/p>\n

Because of the dual tours, there are two different versions of the Rippington’s band on this CD. One features Eric Marienthal<\/b> on sax, while the other showcases the sax talents of Paul Taylor<\/b>. Either way the music is vivacious and energetic, a great compliment to spring break and summer madness as we swing into the season of outdoor concerts and beach-side bar-b-que’s.<\/p>\n

In my review of Life In The Tropics<\/i>, I noted that Russ had taken a decidedly Latin bent, a great idea to help keep the band’s sound fresh. This trend is reflected in the inclusion of the burning Latin pieces Avenida Del Mar<\/i> and South Beach Mambo<\/i>. They say that practice makes perfect, and it would seem that Russ Freeman’s long-ongoing touring schedule has been just the thing to bring the Rippington’s live performances up to the par set by the studio releases. <\/font><\/p>\n

<\/body><\/p>\n","protected":false},"excerpt":{"rendered":"

The RippingtonsLive Across America(Peak – 2002) by Ricky Miller Like<\/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-4930","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4930","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=4930"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4930\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}