I only got this one album:-





Only 2 trcks i like, which were produced by the great chukki booker. "stay right here" is alright, but the dated (for 1994) sounding "live it up" is so very funky in that synth chukki sort of way. I love that track.

thesexofit said:

Corny how these soul legends try to groom as B-boys

Phillip Bailey has one of the best falsettos out there but I don't have any of his solo albums. I prefer him much better with Earth, Wind, & Fire. I wasn't impressed with any of his solo stuff I heard over the radio other than "Easy Lover".

I only got this one album:-

thesexofit said:

Whew. He is looking a hot a** mess on that album cover. Should've slapped his stylist.

After 1998's lackluster "Life And Love", I assumed Philip Bailey would abandon his solo career and focus on being the lead for Earth, Wind & Fire. Instead, Mr. Bailey released the ten track "Dreams" in June 1999 on his new label, Heads Up.
I've never thought of PB as a jazz musician - his professional career has been in pop and gospel. Yet there were past indications of his jazz ability, like the live versions of "Reasons", especially from 1995's "Greatest Hits Live".

It's time for this reviewer to snack on his words; Philip caught me off guard. Finally, I've received what I've always wanted; a mostly jazz album, despite the ubiquitous synthesizer programming. Featured are performances by the prominent jazz musicians Gerald Albright, Randy Brecker, George Duke, Pat Methany, Marcus Miller, Kirk Whalum, and the late Grover Washington, Jr.. Newcomer Erik Huber, the principal producer, should be watched in the future.

Phil B once again covers "Make It With You", which I obnoxiously referred as "nauseating" in my review of 1972's "Last Days And Time". This time the result, featuring Grover in one of his last appearances, is stunning. Though the take on "Dreams" is by far the best I've heard, this is one tune Trini's dad needs to let go. (Thank goodness he didn't take another stab at "Where Have All The Flowers Gone".) Bailey likewise remakes "Sailaway" from 1980's "Faces", and though this take is fairly close to the original, it's still an improvement.

Also included is a cover of the EW&F-inspired instrumental "Something To Remind You", which originally appeared on Methany's 1995 album "Group We Live Here". The version on "Dreams" has lyrics penned by Sir James Bailey, and does feature Methany's mellow guitar. Parts of "Something To Remind You" sound rather fuzakish, making it perfect for radio airplay. In fact, the weakest link on the album are the vocal arrangements and lyrics on this track. But that's exactly what sets it apart from the original, so what was the point?

You'll not find Philip hitting any impossible notes on "Dreams". What can be found is actual jazz by the strict definition in the Morris Pleasure produced standard "Masquerade Is Over", and a break featuring a solo by Duke on "Are We Doing Better Now". Representing Philip's best performance on this album, I'm tempted to say the former ranks with the very best EW&F material. However, that wouldn't be quite right - it is truly in a category of its own.

Otherwise, the standout single is Philip's interpretation of Van Morrison's "Moondance", highlighting fusion veteran Randy Brecker on flugelhorn. This remake is on par with others which transcend time, like George Benson's covers of "Here Comes The Sun", "White Rabbit", "On Broadway" and "Here, There, and Everywhere", and EW&F's take on "Got To Get You Into My Life". There's no doubt it knocks "Walking On The Chinese Wall" off its lofty perch as Philip's best single, and sets a new standard. (The original is an interesting piece of jazz, but Van's horrendous vocalization stands in stark contrast to Philip's immeasurably superior effort.)

The best to be said of "Dreams" is no single rates below very good, though "Something To Remind You" is borderline. Unfortunately, the worst to be said is, except for "Moondance" and "Masquerade Is Over" (and possibly "Make It With You"), no single rates above very good. If the other 7 tracks had been comparable to the big two (which, not surprisingly, are the most acoustic), "Dreams" would have received my highest possible rating, displacing "Gratitude".

The very even "Dreams" is a USA release, and thus much more easily (and cheaply) obtained in the States than the underachieving "Life and Love". It's an enhanced CD - pop it into to your Mac or PC to view, among other things, a performance of "Return To Paradise" with keyboardist Keiko Matsui backing PB.

On first playing, I knew "Dreams" was by far the best of the solo work (I have reviewed). Still, the typical EW&F fan might not be as enamored; this extra-mellow work is much closer to jazz than the rest of their library. An objective comparison to other EW&F work is difficult, so I'll be conservative with my rating. These are recognizably PB vocal arrangements, but I am concerned whether Erik Huber had a larger input here than Philip himself.

I've read another review of "Dreams" put out by an organization with an extensive (and indispensable) music database on the 'net. Their "expert" review is fair, but not overly impressed with the work, pointing to lack of both tempo changes and "groove" (whatever that means). "Chinese Wall" is still rated Philip's essential secular solo effort. Fortunately, you rely on us and not these "experts" (and their jargon) to get the straight deal on EW&F. These snobs are too sophisticated to distinguish quality fusion from radio fuzak.

Incidentally, for a quick lesson on the difference, pick up Earl Klugh's 1994 album "Move" and compare tracks 8 and 9 with tracks 4 and 10. These contrast the difference between background noise (at best), and music which defines your mood (whatever that means). It's hard to fault him for this - how else could he get exposure for his material when, according to EK himself, the typical listener has an ever decreasing attention span? (Besides, Earl's a classy guy - he performed part of 1989's essential "Solo Guitar" upon my request!) The inescapable reality is every cut on "Dreams" is better than 95% of what the fuzak stations play. The fact it is in the "smooth jazz" genre makes it criminal that I've never heard this work on the radio.

I only got this one album:-





Only 2 tracks i like, which were produced by the great chukki booker. "stay right here" is alright, but the dated (for 1994) sounding "live it up" is so very funky in that synth chukki sort of way. I love that track.