If you're familiar with, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help. You can become a sustaining member for a modest and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. There isn't a great divide between the life of a musician and the ordinary 9-to-5 Joe. Musicians have to perform on their job or they get passed over.

Csa standard b365 free download version. They have dandruff, bills to pay and crabgrass they can't get out of their front lawn. The difference is when a musician undergoes a personal drama there's the outlet of retreating to the nearest studio or soundstage to express his/her joys and sorrows. When pianist Keiko Matsui faced the parting of ways with husband Kazu Matsui, who'd produced all her previous albums, she decided to self-produce—a bold move from an artist with a signature sound carefully crafted over 20 years.

Jun 11, 2007 - Keiko Matsui: Moyo (Heart and Soul) by Jeff Winbush, published on June. Been a constant since she entered the scene with A Drop of Water.

Moyo (Swahili for 'heart and soul') was recorded with local musicians in South Africa, marking the return of 'live' bass and drums for the first time since Sapphire (Shout! Factory, 1995). For her first self-produced effort, Matsui sought out familiar musicians from previous albums, including drummer Akira Jimbo, saxophonist Paul Taylor, bassist/vocalist Richard Bona and the still-kicking-butt-after-all-these-years trumpet of South African native son, 68-year-old Hugh Masakela.

The presence of Masakela, Taylor and saxophonist Gerald Albright is significant. Matsui's recordings for the last decade have been somewhat insular affairs, the only constant being a core trio of her piano, Derek Nakamoto's synthesizers and arrangements, and Kazu Matsui's production and occasional contribution on shakuhachi. Taylor and Albright's saxophones open up the sound here. The subtitle of the album could be Keiko Matsui Plays Well With Others.

All the familiar elements of Matsui's music are here. There's new age, world beat, light classical and contemporary jazz all presented in the East-meets-West fashion that has been a constant since she entered the scene with A Drop of Water. Factory, 1987) 'After the Rain' is a funky fusion of American smooth jazz as Taylor's soprano saxophone dukes it out with South African soul and Lucas Senyatso's looping bass lines. Taylor, who played with Matsui in the 1990s, and went on to a successful solo career, sounds strong, as if reuniting with his old band mate reinvigorated him as he takes the lead on the radio-friendly 'Black River.'

'Caricas' is a showpiece for Matsui's playful piano, but gives drummer Rob Watson, Senyatso's rock-solid bass and percussionist Tiale Makhene plenty of space. But it's only an appetizer, with the following 'An Evening in Gibraltar' a blue plate special with Masakela's sizzling trumpet trading lines with Matsui's piano during the bridge. 'Um Novo Dia' (A New Day) deserves points for possibly being the most bizarre song on a Matsui album, but features an overly melodramatic vocal by Waldemar Bastos. It's an interesting attempt at Latin music, but comes up short. Matsui has enjoyed much commercial success and is a staple of smooth jazz programming though she's always followed her own direction rather than comforming to the rules of the genre.