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How Journey Took the Next Step With Aptly Titled ‘Evolution’

After years of slugging it out in the trenches, Journey finally achieved a modicum of mainstream success with their fourth LP, 1978's Infinity . They were only getting warmed up.

The band's determination to break into the Top 40 came with a price, and was reflected in a series of lineup changes that included the addition of new singer Steve Perry (who made his debut with Infinity ) and continued with the departure of drummer Aynsley Dunbar, who quit before Journey entered the studio to record their fifth studio album, Evolution .

Dunbar vented his frustration with his old band's increasingly commercial direction in a February 1979 interview with BAM , conducted after he joined Jefferson Starship .

"You believe that financial success is gonna do it for you, but it never does," Dunbar argued. "All the financial success in the world can't touch your artistic feeling. Once that's destroyed you can't really enjoy yourself, you can't release anything. I've got to release what I feel. Otherwise, I start getting a temper and building up depression."

That lack of release, Dunbar added, had begun to spill over into Journey's less-spontaneous live sets.

"I mean, if you're playing with a lot of feeling and trying to help them play well, and nobody's giving you a damn thought, they're not listening, there's no point in you being there," Dunbar added. "They wanted to play everything exactly note for note, according to the record. I never wanted to do that, but I did it for the last album.

"It bored the shit out of me," he said. "They could never understand my freedom. They don't understand my playing. They thought I was trying to prove I have technique. Getting out of it was the best thing that ever happened to me."

Plucking new drummer Steve Smith from the ranks of former Journey tourmate Ronnie Montrose 's band, the group reunited with Infinity  producer Roy Thomas Baker for Evolution . As Perry pointed out in an interview with Sounds , however they hadn't really been thrilled with his work on the previous LP.

Watch Journey's Video for 'Lovin', Touchin', Squeezin''

In fact, they only consented to work with Baker again because they were fans of his engineer. "Roy was out driving his Rolls Royce or doing shopping half the time we were recording Evolution ," Perry argued. "It's really just produced by us and Geoffrey Workman."

"Admittedly Roy had a lot to do with the sound of Infinity ," guitarist Neal Schon countered in the same Sounds interview. "But if you listen to both of them, I bet you'll prefer the new one. You know, Infinity  had layer after layer of sound, hundreds of overdubbed guitars. ... There's less of that on Evolution . and I prefer it."

As it turned out, losing a drummer and a few overdubs didn't hurt Journey's burgeoning chart presence. Released April 5, 1979, Evolution  went on to become their most successful album to that point. A No. 20 hit on the Billboard  album chart, Evolution sold more than three million copies while scoring the band a Top 20 hit with the record's second single, "Lovin', Touchin', Squeezin.'"

All of it merely set the stage for a group poised to become one of the biggest rock acts of the next decade.

"We wanted to be successful," Schon told Sounds , shortly after Evolution  was released. "We wanted to compete and we took the steps that we thought were right to do so. If they're the wrong ones, we'll find out soon enough. We're not copping out; we're just trying to make money. Otherwise, you can't live. ... I think if the people are open-minded, they're going to enjoy us – because I think we sound different to any other band that's out right now."

"It's good different," Perry agreed. "So many people sound the same right now. Sit back, listen and I think you'll realize that we are the most different-sounding band. You cannot compare us to anyone. And by staying individual-sounding, we're taking a big chance. We're trying to make our own statement. We're not walking into anybody else's shoes."

Dunbar probably would have argued that sentiment, but whether or not Journey were truly taking a risk, their sonic Evolution  made them a natural fit for radio. The relationship was only strengthened when Journey returned in March 1980 with its sixth studio LP, Departure .

Founding keyboard player (and original lead singer) Gregg Rolie ended up leaving the lineup at the end of the year, but his hand-picked replacement, former Babys member Jonathan Cain, quickly demonstrated his own knack for hitmaking: His debut release with the group, 1981's Escape , gave Journey its first No. 1 album. The rest is history.

The Best Song From Every Journey Album

See Neal Schon Among Rock’s Forgotten Supergroups

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11 SONGS • 36 MINUTES • APR 05 1979

• CDs & Vinyl
• Classic Rock
• Album-Oriented Rock (AOR)

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Classic Rock Album featuring Journey's hits from 1979 including Lovin, Touchin, Squeezin' and Just the Same Way

Product details

• Package Dimensions ‏ : ‎ 12.1 x 11.9 x 0.2 inches; 0.01 ounces
• Manufacturer ‏ : ‎ Columbia
• Run time ‏ : ‎ 35 minutes
• Date First Available ‏ : ‎ June 27, 2006
• Label ‏ : ‎ Columbia
• ASIN ‏ : ‎ B000GI0QEG
• Number of discs ‏ : ‎ 1
• #2,197 in Arena Rock (CDs & Vinyl)
• #6,876 in Hard Rock (CDs & Vinyl)
• #7,686 in Album-Oriented Rock (AOR) (CDs & Vinyl)

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Taylor Swift Surprises Fans with Release of 15 New Songs Overnight

Taylor showing why she’s still the best.

Taylor Swift, the acclaimed singer-songwriter, has once again captivated her fans with an unexpected release of 15 new songs, expanding upon her latest album, “The Tortured Poets Department.”

In a surprise announcement made at 2 a.m. on Friday morning, Swift unveiled that her initial album, featuring 16 tracks, was just the beginning of a larger narrative. Dubbed “The Tortured Poets Department: The Anthology,” this secret double album delves deeper into Swift’s introspective journey, offering fans a richer exploration of her emotional landscape.

“It’s a 2 a.m. surprise: The Tortured Poets Department is a secret DOUBLE album,” Swift shared on X (formerly Twitter). “I’d written so much tortured poetry in the past 2 years and wanted to share it all with you, so here’s the second installment of TTPD: The Anthology. 15 extra songs. And now the story isn’t mine anymore… it’s all yours.”

Among the new tracks, Swift’s signature storytelling takes center stage, with several songs potentially alluding to her past experiences and relationships. Notably, two tracks, “thanK you aIMee” and “Cassandra,” have sparked speculation about references to Kim Kardashian and the fallout from Swift’s public feud with Kanye West.

“thanK you aIMee” explores themes of resilience and forgiveness in the face of adversity, possibly drawing parallels to Swift’s past conflicts. The song’s cryptic lyrics and hidden messages suggest a complex interplay of gratitude and resentment towards individuals who have influenced her journey.

Meanwhile, “Cassandra” delves into the struggle of being misunderstood and disbelieved, echoing the Greek myth of the prophetess Cassandra. Through poignant lyrics, Swift reflects on her experiences of facing scrutiny and betrayal, questioning the integrity of those around her.

These new additions to Swift’s repertoire offer fans a deeper insight into her artistic evolution and personal growth. With her characteristic blend of vulnerability and strength, Swift continues to captivate audiences worldwide, leaving a lasting impact on the music industry.

This article is copyright © 2024 

Joni Mitchell Details THE ASYLUM ALBUMS (1976-1980)

After The Hissing Of Summer Lawns tour, Joni Mitchell retreated to Neil Young’s beach house to recover. Eager to travel but undecided about a destination, Mitchell was unexpectedly invited on a cross-country road trip with friends. It was one of three road trips she took between 1975 and 1976 and the beginning of a period defined by wanderlust, both in her physical travels and musical exploration. This transformative phase is the focal point of The Asylum Albums (1976-1980) , the next release in the Joni Mitchell Archives series.

The new collection showcases Mitchell at her most daring across Hejira (1976), Don Juan’s Reckless Daughter (1977), Mingus (1979), and the live album Shadows and Light (1980). Renowned audio engineer Bernie Grundman remastered all four releases included in this boxed set from the original flat analog master tapes.

The Asylum Albums (1976-1980) will be available on June 21 from Rhino as a 5-CD set, a limited edition (5,000 copies) 6-LP version pressed on 180-gram vinyl, and digitally. Pre-order both collections HERE . The newly remastered version of “Coyote” from Hejira is available today digitally. Listen HERE .

The cover art for The Asylum Albums (1976-1980) includes a portion of one of Mitchell’s original paintings. Fans will enjoy a full version of the whimsically abstract landscape as an accompanying insert included in the album packaging for both the CD and LP configurations.

During this period, Mitchell boldly declared her move from the “hit department” to the “art department.” Critics were slow to catch up, but her creativity was in overdrive. Instead of session aces, she began recording with jazz virtuosos like Larry Carlton and Pat Metheny (guitar), Michael Brecker (saxophone), Herbie Hancock (keyboard), and Don Alias (percussion), as well as several members of Weather Report, including Jaco Pastorius (bass) and Wayne Shorter (saxophone).

Accompanying the set is a heartfelt essay penned by Oscar-winning actress Meryl Streep, a lifelong fan of Mitchell’s work. She writes: “It’s not just the artifact – music and lyrics – that Joni gives us. Her artistry leaves us, ourselves, changed. She has shifted things around inside us. And that’s how artists change the world.”

Hejira stands out as a testament to Mitchell’s artistic evolution. Its subdued instrumentation, coupled with her introspective lyrics, resulted in timeless tracks like “Coyote” and “Furry Sings The Blues” with Neil Young on harmonica. Mitchell once said: “I suppose a lot of people could have written a lot of my other songs, but I feel the songs on Hejira could only have come from me.”

Her journey continued with Don Juan’s Reckless Daughter , a double album of largely experimental music. It included “Paprika Plains,” a side-long piano piece with orchestral arrangements. It found a receptive audience in musical seekers like Bjork, who said the album’s fearless approach later inspired her music.

Ultimately, Mitchell’s path led to Mingus , her collaboration with jazz titan Charles Mingus, who wrote several songs for the project. Mingus died shortly before the album was complete, and Mitchell dedicated it to him. Four songs by Mingus with lyrics written by Mitchell appeared on the album, including a version of “Goodbye Pork Pie Hat,” Mingus’ tribute to saxophonist Lester Young, and one of his most famous compositions. In the album’s liner notes, Mitchell said she felt fully immersed in jazz for the first time while making the record. “It was as if I had been standing by a river – one toe in the water – feeling it out – and Charlie came by and pushed me in – ‘sink or swim’…”

The final entry in The Asylum Albums (1976-1980) is the double live album Shadows and Light . It was Mitchell’s second live album and her last release with Asylum Records. She recorded it during the tour for Mingus in September 1979 at the Santa Barbara Bowl. Except for the performance of her classic song “Woodstock,” the album focused on songs from her most recent albums, like “Amelia,” “Dreamland,” and “The Dry Cleaner From Des Moines.” The Persuasions, a vocal group popular in the 1960s, also appeared on two songs: the title track and a cover of “Why Do Fools Fall In Love.”

The release of The Asylum Albums (1976-1980) sets the stage for Joni Mitchell Archives Vol. 4, the next installment in the archival series dedicated to exploring Mitchell’s career through unreleased studio and live recordings. More details will be announced later this year.

Joni Mitchell will perform at the Hollywood Bowl on October 19 and 20 for two highly anticipated sold-out shows. These are Mitchell’s first Los Angeles headlining shows in more than two decades. On both nights, she’ll be accompanied by the Joni Jam ensemble.

The Asylum Albums (1976-1980) LP Track Listing

Hejira LP One Side One

1.  “Coyote”

2.  “Amelia”

3.  “Furry Sings The Blues”

4.  “A Strange Boy”

5.  “Hejira

Side Two 1.  “Song For Sharon”

2.  “Black Crow”

3.  “Blue Motel Room”

4.  “Refuge Of The Road”

Don Juan’s Reckless Daughter LP One Side One

1.  “Overture – Cotton Avenue”

2.  “Talk To Me”

3.  “Jericho”

Side Two 1.  “Paprika Plains”

LP Two Side One

1.  “Otis And Marlena”

2.  “The Tenth World”

3.  “Dreamland”

Side Two 1.  “Don Juan’s Reckless Daughter”

2.  “Off Night Backstreet”

3.  “The Silky Veils Of Ardor”

Mingus LP One Side One

1.  “Happy Birthday 1975”

2.  “God Must Be A Boogie Man”

3.  “Funeral” (Rap)

4.  “A Chair In The Sky”

5.  “The Wolf That Lives In Lindsey”

Side Two 1.  “I’s A Muggin” (Rap)

2.  “Sweet Sucker Dance”

3.  “Coin In The Pocket” (Rap)

4.  “The Dry Cleaner From Des Moines”

5.  “Lucky” (Rap)

6.  “Goodbye Pork Pie Hat”

Shadows And Light LP One Side One

1.  Introduction

2.  “In France They Kiss On Main Street”

3.  “Edith And The Kingpin”

4.  “Coyote”

5.  “Goodbye Pork Pie Hat”

Side Two 1.  “The Dry Cleaner From Des Moines”

3.  Pat’s Solo

4.  “Hejira”

1.  “Black Crow”

2.  Don’s Solo

4.  “Free Man In Paris”

5.  Band Introduction

6.  “Furry Sings The Blues”

Side Two 1.  “Why Do Fools Fall In Love”

2.  “Shadows And Light”

3.  “God Must Be A Boogie Man”

4.  “Woodstock”

The Asylum Albums (1976-1980)

CD Track Listing

6.  “Song For Sharon”

7.  “Black Crow”

8.  “Blue Motel Room”

9.  “Refuge Of The Road”

Don Juan’s Reckless Daughter

4.  “Paprika Plains”

5.  “Otis And Marlena”

6.  “The Tenth World”

7.  “Dreamland”

8.  “Don Juan’s Reckless Daughter”

9.  “Off Night Backstreet”

10. “The Silky Veils Of Ardor”

6.  “I’s A Muggin” (Rap)

7.  “Sweet Sucker Dance”

8.  “Coin In The Pocket” (Rap)

9.  “The Dry Cleaner From Des Moines”

10. “Lucky” (Rap)

11. “Goodbye Pork Pie Hat”

Shadows And Light Disc One 1.  Introduction

6.  “The Dry Cleaner From Des Moines”

7.  “Amelia”

8.  Pat’s Solo

9.  “Hejira”

Disc Two 1.  “Black Crow”

7.  “Why Do Fools Fall In Love”

8.  “Shadows And Light”

9.  “God Must Be A Boogie Man”

10. “Woodstock”

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5 Minutes That Will Make You Love Jazz Bass

Writers, scholars, radio hosts and musicians, including the bassist Ron Carter, share songs that shine a light on an instrument that lays the foundation of jazz.

By Marcus J. Moore

There’s a clip circulating on social media where Charles Mingus, arguably the most famous jazz bassist of all time, is asked what he’s saying through his instrument on the bandstand. His answer, profane and hilarious, isn’t fit to print here , but it’s fitting for the so-called “ Angry Man of Jazz .” I’ve often wondered if Mingus’s attitude was just his way, or if he felt somewhat underrated compared with others from his era. By and large back then, bassists weren’t bandleaders; Mingus was an anomaly. And that had me thinking about jazz bass overall: While it might be the most unheralded of all the instruments, no composition resonates without it.

This month’s feature is all about jazz bass, and cornerstone musicians like Mingus, the “Maestro” Ron Carter and Israel Crosby, whose performance is highlighted twice below. They all made significant contributions to the evolution of jazz. Their work paved the way for newer voices to shine through, including some artists who have chosen a song this month. And because we’re talking about an instrument like the bass, whose trajectory through jazz has been a complicated one, it seemed best to have plenty of the experts — jazz bassists — talking about their favorites.

Enjoy listening to these songs highlighting the bass. You can find a playlist at the bottom of the article, and be sure to leave your own picks in the comments .

Luke Stewart, bassist, bandleader and composer

“el haris (anxious)” by ahmed abdul-malik.

Coming in hard like a Just Blaze track, then settling into a simple but effective melody that takes you on an unexpected journey in itself. Abdul-Malik explored the “East Meets West” concept of fusing jazz and the music of the Middle East over the course of a couple of albums. This one, however, “Jazz Sahara,” is his most successful in my view, and the most potent musically. Johnny Griffin is a standout on this record, letting us know once again that he is the Little Giant, with his saxophone sound towering above the band as he creeps in with his own sample of a previous tune. Jamal Muhammad of WPFW 89.3FM in D.C. first introduced me to both the Johnny Griffin album “Change of Pace” and the Abdul-Malik album in question, blessing me with some insight into the musicians and to the not-so-subtle signifying on the song titles.

Ahmed Abdul-Malik, himself a sonic giant, commands the bass and the band with the imagination and the vision to create a truly fused collaboration of a typical U.S. jazz ensemble with an Egyptian one. This configuration, and this track in particular, does the best in my view. One of my favorite bass solos is his here on this track. Recorded a year after the classic “Night at the Village Vanguard” from Sonny Rollins, featuring Wilbur Ware’s bass solo on “Softly, as in a Morning Sunrise,” Abdul-Malik’s solo to me has felt like a response. This is where he was able to bring the Vanguard to the Pyramids.

Listen on YouTube

Ron Carter, bassist and bandleader

“but not for me” by the ahmad jamal trio.

Israel Crosby’s bass lines on “At the Pershing,” in Chicago, are important not just because he’s on it, but because he made Ahmad play that way. He made the piano player not play. From then on, every bass player had to learn that bass line for the entire song — every Motel 6 player, every Birdland player, had to know it because it was so popular — including yours truly. And he made Ahmad Jamal even more important to the music community.

Camille Thurman, saxophonist, vocalist and educator

“christina” by buster williams.

Buster Williams’s sounds, feel, touch and ideas take me to a place where I repeatedly fall in love with the bass all over again. He is one of the innovators of modern jazz bass playing (the other being Ron Carter). His harmonic approach always pushes the boundaries, defying conventionality while giving a sense of freshness and emotional depth. Whether it’s listening to his original composition “Christina” (from “Something More,” featuring Herbie Hancock, Wayne Shorter, Al Foster and Shunzo Ohno) or his arrangement of “ I Didn’t Know What Time It Was, ” his playing is the epitome of limitless freedom, heart and drive. He makes the bass the band’s focal point, walking the hippest melodic bass lines while simultaneously providing the band’s solid rhythmic and harmonic foundation. His sound is like a giant hug: warm, rich and full. I smile in amazement every time I hear him play. You simply cannot get enough of Buster’s sound!

He weaves the most beautiful, eclectic, forward-thinking creative bass lines imaginable. You can hear this in “Christina.” From hearing the sound of the first note played, you instantly know that it’s Buster. He emotes elegance, beauty, grace, sophistication and sensitivity, taking listeners on an adventurous musical journey.

Angélika Beener, D.J., writer and podcast host

“for love (i come your friend)” by thundercat.

There is one track on Stephen (Thundercat) Bruner’s tremendously progressive debut, “The Golden Age of Apocalypse,” that still enchants me. Listening on repeat, flying overnight from New York to Madrid on an almost empty aircraft, lying across the seats in the quiet darkness, it transported me far beyond the miles that spanned these two cities. Ironically, it’s the album’s lone cover, “For Love (I Come Your Friend),” written and recorded by the jazz fusion great George Duke. Thundercat’s interpretation, co-produced by Flying Lotus, augments the song’s beauty by luxuriating in its layers. The gorgeous harmony, fluctuating odd phrases (a unique rhythmic pattern of 14-10-12 phrasing) and sheets of spacey textures can almost get ahead of you when it’s moving at lightning speed, as it does on Duke’s 1975 original . What Thundercat does by pulling back the tempo in the first half is a sonic revelation.

It begins with an ethereal slow dance between bass and twinkling synths. Next, Thundercat’s Duke-inspired falsetto against the enormous tone of his bass creates a cosmos-meets-quiet storm meditation. They take another chorus, sans vocals, with every note choice he makes deepening the emotional resonance. When his vocals return, this time thickly harmonized, it builds, now honoring the pace of the original, but utilizing it as more of a climax. Over four instrumental choruses that now include effervescent drums, Thundercat plays one of the most melodic bass solos ever, excavating the structure of Duke’s masterpiece over and over, until finally floating us into eternity.

Tonina Saputo, bassist and vocalist

“yesterday princess” by stanley clarke.

Since childhood, I’ve admired bassists who skillfully navigate between the realms of vocal singing and singing with the bass. Stanley Clarke’s “Yesterday Princess” stands out as the sole song on his 1974 self-titled album where he lends his vocals. It’s one of the first jazz bass lines that comes to my mind. Clarke effortlessly transforms his bass into a melodic storyteller, conveying his love message to his Vulcan princess. The trebly tone enhances the bass’s character, acting as an additional voice, jumping between fifths.

In the ’70s, we witnessed the bass taking on a more prominent and gentle role in ensembles. It departed from its typical thumping, rough playing style that listeners were accustomed to hearing in earlier decades of jazz. This song to me represents the advent of electric bass technology where bass players gained more control over the instrument’s tone and timbre. This allowed melodies to not only be more audible but also more readily playable on the bass.

I appreciate how today’s jazz musicians pay homage to Stanley Clarke’s compositions and perform this tune. One of my favorite renditions is by Yussef Dayes , with Rocco Palladino adding his touch on the line with his octave pedal. I’ve even incorporated this song into my repertoire. The song goes crazy.

Sélène Saint-Aimé, contrabassist, vocalist and composer

“jive rhapsody” by the duke ellington orchestra.

I came across this recording while studying the history of Black American contrabassists many years ago. I was trying to look back as early as possible and the names of Alcide Pavageau, Wellman Braud or Walter Page quickly came up, along with Jimmy Blanton’s.

What shook me in Blanton’s story is that he had such a short time to develop professionally, from 1938 to 1941, before his death from tuberculosis at age 23 in 1942.

Here, Blanton is not only accompanying but also playing rhythmic melodic figures. When I first heard “Jive Rhapsody,” I remember thinking that it reminded me of what later Oscar Pettiford would play on the bridge of “ Bohemia After Dark ,” the same concept of rhythmic melodic figures but in a different strata this time. I love this intense feeling of groove and ostinato that, to me, brings back undeniable West African roots.

Jimmy Blanton’s path is very inspiring for a bass player like myself, from the fullness of his sound to his beautiful melodic and harmonic explorations and, of course, his major contribution to building the sound of one of the most important bands in history: the Duke Ellington Orchestra.

Shana L. Redmond, scholar

“boomerang” by marcus miller.

It could be a throwaway scene in “Boomerang” (1992) were it not for the music. A silent and contemplative Marcus Graham (Eddie Murphy) — the playboy main character recently given his just deserts by an equally cunning playgirl — looks off camera. To where, we don’t know, but the song’s opening bass line over elongated synths pulls listeners in, leading one to assume that the scene will produce some dramatic play. And then it ends. At only 15 seconds, it’s not enough time to know what the music is telling us or to recover from what it’s done, but Marcus Miller, who scored the film, ensured that it would live on in two variations on his album “M²” (2001), which won the 2002 Grammy for best contemporary jazz album. A multi-instrumentalist, songwriter, and producer, Miller has worked with legends in jazz and popular music, including Herbie Hancock, Miles Davis and Luther Vandross, whose “ Never Too Much ” (1981) was touched by his iconic bass playing. The final track on “M²,” “ Boomerang Reprise ,” is also brief but affecting at 1:54, with multiple bass lines that groove and snap in a song that some may not immediately register as jazz. Nonetheless, it manifests a merger of styles and techniques that rise and return “just like a boomerang.”

Syd Schwartz, writer

“gloria’s step” by the bill evans trio.

The pianist Bill Evans, bassist Scott LaFaro and drummer Paul Motian forever changed the rules of engagement in jazz trios by reimagining the roles of soloist and accompanist. Their unified harmonic approach brought the rhythm section out of the shadows and established a group equilibrium that expanded conversational and improvisational possibilities. “Gloria’s Step” is LaFaro’s ode to the footfalls of his girlfriend Gloria as she returns home to their upstairs apartment. His tone, technique and youthful exuberance deliver a master class in bass expression.

Even before LaFaro’s impressive bass solo, the music is the swinging, melodic sound of democracy in action. The traditional orientation of leader and supporting players transforms into a murmuration, akin to a flock of birds flying with intricately coordinated movements and directional shifts, operating as a hive mind. As Evans, LaFaro and Motian celebrate Gloria’s arrival, they create a breathtaking illusion of one musician in three bodies — a swinging, shimmering cascade of melodic brilliance. “Gloria’s Step” is the opening track on “Sunday at the Village Vanguard,” a landmark recording that belongs in every jazz library. A tragic automobile accident would claim LaFaro’s life 10 days after the Village Vanguard gigs, prematurely ending this trio’s arc of ascent and leaving this album (and its twin, “Waltz For Debby”) as the apex of their accomplishments.

Adi Meyerson, bassist and composer

Knowing about Israel Crosby is almost like being part of some secret cool kids’ club. Those who know, know. And when people do find out, there’s really no going back. I know they say this about a lot of people, but I feel like it’s safe to say he was truly ahead of his time.

It’s hard for me to think of a bass player I consistently come back to the way I do with these Ahmad Jamal recordings, and this track in particular, no matter how much my taste in jazz shifts and changes. He is the definition of voice leading in a bass player’s book. It’s all there — the beat, the melody, the harmony and the element of surprise. He often sounds like he’s playing a bass solo throughout a whole song. The thing I find most beautiful and compelling about this track is the space that each musician gives one another, which allows for conversation and the bass lines to really shine through. I remember hearing this song for the first time, and it just blew my mind. I must’ve run the first A section during the piano solo back 20 times. We’re lucky to have witnessed his talent, even in his brief 43 years of life.

Marcus J. Moore, jazz writer

“choma (burn)” by harold land.

I think the litmus test for any bassist — or any musician, really — is their ability to keep steady as things around them grow more chaotic. So I applaud Reggie Johnson’s performance on Harold Land’s “Choma (Burn),” the riotous title track of the saxophonist’s 1971 album. Johnson opens the song and sets the foundation for it, paving the way for Land’s ensemble (which included the frequent collaborator Bobby Hutcherson on vibraphone) to pile mounds of sound on top of it: volcanic drums, flutes and piano. Even as the composition ascends and spirals, Johnson’s bass line stays relatively static, holding together a track that threatens to jump the rails. But it never does. In moments when it borders on free jazz, Land brings it back down, giving Johnson space to resonate. And there he is, immovable still, plucking out the same bass line that brought me there in the first place.

Ulysses Owens Jr., drummer, writer and radio host

“cherokee” by the christian mcbride trio.

Many jazz bassists play the root movements of each chord and create beautifully nuanced walking bass lines, offering a foundation on which a band can fulfill its role and purpose within the music. Then there is Christian McBride, the Philadelphia-born jazz bass virtuoso, who lays that foundation with clarity and adds incredible wizardry that rivals the best pianists and horn players (including his former boss Freddie Hubbard).

On “Cherokee,” from his second album with his trio, “ Live at the Village Vanguard ,” McBride chooses to not play the melody on the A sections, unveiling fast-walking bass lines instead, then shifting to 3/4 time at the bridge, before returning to the fast-paced walking bass line at the last A section. McBride drives the song and never lets up, with perfect timing and no deviation.

For me, the highlight of McBride’s performance of “Cherokee” is the bassist’s blistering solo/trade with the drums that is full of innovative ideas and interplay. There is a moment in the solo where the drums break, and McBride shows the world why countless bassists are either puzzled, floored or both by his musical genius.

McBride delivers his sound, feel and intonation with ease and a big smile that’s become as much his trademark as his revolutionary playing. The man simply doesn’t play a wrong note.

Cassie Watson Francillon, harpist and interdisciplinary artist

“lonesome lover” by max roach.

My thing is being able to feel you before I see you’re playing or someone announces who’s on the gig. This track does that for Art Davis. You just feel him from beginning to end. I felt him before I had confirmation he was on the track. Now that we know — shall we discuss the powerful way the bass wraps, signals and calls the wails and moans of everyone else around him? His harmonics — he lets them ring. The open strings he plays earlier on signal collective spiritual might. I love how the double stops of his solo meet a brief revisit by the haunting choir and he proceeds loftily above them, honoring with a continued harmonic ascension. Dynamics, width, culture all describe his presence. His approach mimics a voice saying, “It’s OK, let it out. We’re gonna say it together. We’re gonna be all right,” and he generously leaves space to do so. Listen through studio monitor headphones and you’ll hear a bit more of the fluttering joy and lightness of his swinging throughout the track — unencumbered by the gravity of the request to “ take me back where I belong.” As apparent here, gravity and joy can belong within us at once.

Robin D.G. Kelley, Thelonious Monk biographer

“charlie m” by art ensemble of chicago.

“Full Force” was the first LP I bought by the Art Ensemble of Chicago. It was 1980, I was 18 and trying to teach myself to play upright bass. Charles Mingus and Wilbur Ware had become my obsessions. When I heard “Charlie M,” the bassist Malachi Favors Maghostus caught my attention. Lester Bowie composed it in memory of Charles Mingus, and his mastery of the vocal effects of the trumpet are on full display. But Malachi takes command from the very first note, strutting — not just walking — lines in big, round tones. I imagined the ensemble collectively reacting to Malachi’s phrases and harmonic choices, which amount to variations on the melody. Joseph Jarman and Roscoe Mitchell deliver a soulful cacophony of saxophones and “little instruments” (whistles, bike horns, wood block), leaving ample space to hear the bass — especially when Roscoe and Joseph drop out, leaving Malachi, Lester and the drummer Famoudou Don Moye to their own intimate conversation. Malachi’s solo is melodic, funky and committed to the bass’s lower register, reminiscent of his fellow Chicagoan, neighbor and mentor, Wilbur Ware. Near the song’s end, the ensemble slows the tempo, becoming an occasion for Malachi to pull out his bow. Forty-four years of digging “Charlie M” and it remains an all-time favorite. A fitting tribute to Mingus. Great Black music — ancient to the future.

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Rihanna Shares New Details About Her Long-awaited Album

* Rihanna shared new details about her long-awaited album and its inspiration in a new interview with Extra TV .

“It’s gonna be amazing,” she said of the album . 

“It has to be—that is the only reason it’s not out yet,” RiRi added. 

“If I’m not feeling it and I’m not feeling like it represents the evolution, the time I spent away,” she continued. “There should be a show of growth, right? I want to play, and I feel like music is a playground, and I want to have fun with it and show truly where I am at.”

Rihanna said the project “has to be very intentional, so I’ll know when I have the record.”

She also told Extra TV her plans for the Met Gala.

“I’m actually just keeping it real simple this year,” Rihanna revealed. “Very simple… I think it’s gonna come to what my makeup and what my hair is going to do. We wanna play with that, but I have no idea what I’m gonna do with that….very simple-ish…compared to everything I’ve ever done. I’m showing up for dinner! Shout out to Anna Wintour.”

Meanwhile, we reported earlier that Rihanna will voice the character of Smurfette in Paramount Animation’s “The Smurfs Movie.” The mother of two will produce the project and write and record the feature’s original music.

During CinemaCon 2024, Paramount head Brian Robbins hailed RiRi as “the most legendary Smurfette ever.”

During the studio’s panel on April 11, he also announced the star-studded cast set to appear in the Chris Miller-directed animated movie. MadameNoire reports that the voice cast includes Octavia Spencer, Nick Offerman, Natasha Lyonne, JP Karliak, Dan Levy, Amy Sedaris, Nick Kroll, and James Corden.

“Getting to do animation is a fun journey for me,” Rihanna said last year at CinemaCon.

“I’m usually front and center with everything with my likeness…but this was fun, I got to imagine, I got to show up in my pajamas in my third trimester, and be a blue badass,” she continued.

“I hope this gives me a little bit of cool points with my kids one day,” Rihanna added. 

“The Smurfs Movie” hits theaters Feb. 14, 2025.

OTHER NEWS FROM EURWEB.COM:  Cast Announced for ‘The Smurfs Movie’ Featuring Rihanna

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The Soulful Journey: Evolution of Jazz Balladry through the Keys

April 18, 2024 10 Songs, 19 minutes ℗ 2024 Jazz Birds

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Jo Dee Messina's country roots, faith-filled future shine at Nashville's Ryman

Nashville country favorite jo dee messina's april 27, 2024 headlining nashville concert crystallized the highs of her 35-year career and life journey..

Much like Jo Dee Messina's almost three-decade Nashville career, she began her sold-out Ryman Auditorium date on Saturday started as an artist astonished to be sharing space with country's iconic folklore. The show ended with a person — even more than an artist — unveiling her best self on stage via the power of gospel music.

Yes, Messina's an artist whose success at present looks like Cole Swindell discovering the second chapter of his Nashville success via reinterpreting her hit, "She Had Me At Heads Carolina." However, listening to her on the Ryman's stage accompanied by a piano and the choir from Gallatin's Three Oaks Church, belting a cover of Anne Wilson's "My Jesus" allowed for something seemingly unprecedented honest to shine from the 90s country favorite's spirit.

For some, that resulted in a standing ovation. For others, it caused them to wonder how an artist they felt like they knew from performances existed inside the faith-emboldened and radically overjoyed person they were witnessing onstage.

In order to understand what made Messina's evolutionary moment feel so stunning, it's crucial to characterize how, in retrospect, the evolution of mainstream impacted her.

No. 2 on the charts as country music redefines the meaning of No. 1

Messina's "Heads Carolina, Tails California" only hit No. 2 on Billboard's Hot Country Songs chart in 1996. Brooks & Dunn's cover of B. W. Stevenson's 1973 top-10 all-genre hit "My Maria" took five weeks to hit No. 1, while Messina's platinum-selling hit took three times as long to peak and chart under Brooks & Dunn.

That was famously the year that Garth Brooks — then having released 15 No. 1 singles and albums that eventually would sell over 90 million copies — sat in a building at Nashville's Fairgrounds for 23 hours signing autographs at the Country Music Association's (CMA) Fan Fair.

In Music City, expectations of stardom and what encompassed its pinnacle were shifting.

In the same year, plans to revitalize downtown Nashville, including an arena, a stadium, a symphony hall, and an enlarged country music hall of fame, from being a hodge-podge of dive bars, once-legendary country music spaces and assorted businesses of varying levels of reputation began to shape.

By 2001, Garth was four years removed from playing at New York City's Central Park for millions, while CMA's Fan Fair had moved four miles north to the banks of the Cumberland River at the venue now known as Nissan Stadium.

In a touch of fate familiar to numerous moments in Messina's career, she in 1999 recorded her own 70s-era country cover, Dottie West's "A Lesson In Leavin.'"

Like "Heads Carolina, Tails California," the song only reached No. 2 on Billboard's Hot Country Songs chart. The reason? Lonestar's countrified pop/rock hit "Amazed" — released almost simultaneously with Messina's hit — achieved chart-topping status for eight weeks on the Billboard country chart, hit No. 1 on Billboard's all-genre Hot 100 and was number two on the Hot Adult Contemporary Tracks charts in 2000.

'No peace amid that craziness...'

"There was no peace amid that craziness," offers Messina in regards to the first decade of her career.

Yes, she achieved five million albums sold and six No. 1 singles alongside the influential cosigns of performer Tim McGraw and producer Byron Gallimore. However, she also ended up $500,000 in debt, then eventually changed her management, took her publishing in-house, changed publicists and replaced much of her road crew.

Messina, who off-handedly calls herself "a career B artist," replaced achieving what success looked like in Nashville at the turn of the 21st century with a career that's seen her tour the world multiple times over, attracting fans that literally have seen every date on entire years of her concert tours, or drew them to fly from Athens, Greece to Nashville International Airport to watch Messina play country music's Mother Church.

However, even that wasn't enough to counterbalance the multiple shifts Messina's life endured.

"We all had these huge, fast-moving careers that, whenever they slowed down, I saw things that I believed were solid in my life — rather suddenly — not being so solid," she said. "Losing my identity made everything I thought I knew become foreign to me."

Yet still, as Messina's career slowed, she was impacted by even greater shocks. In 2013, her mother, Mary, underwent multiple open-heart surgeries for life-threatening heart problems. Four years later, Messina herself revealed she had been diagnosed with an unspecified cancer (from which she has announced a full recovery in 2022).

Her life has been as defined by heights as it has heartache.

Country's broad appeal counts Messina among its nation of converts

Messina arrived in Nashville simultaneously with the Class of 1989's Brooks, Alan Jackson, Clint Black, and Travis Tritt, achieving meteoric success and redefining country music's mainstream expectation by blending refined traditionalism and blue-collar approachable Southern rock swagger.

Messina is from Boston's Southwestern rural suburbs of Holliston, Massachusetts. In the 1980s, three low-frequency country music stations (two AM and one FM) in Providence, Rhode Island, provided the only country music available in the area.

Growing up near nature reserves while listening to faint traces of The Judds and Reba McEntire prepared Messina for what she could culturally expect in Nashville.

"Whether I was walking or riding my bike to the gas station I was working at as a 13-year-old or when I was 16 and Reba released, 'Whoever's In New England,' the heart of the genre is what attracted and hooked me."

Messina's journey to what she imagined country stardom could never quite arrive as it appeared to her on the radio.

A fully invested career finally yields a return on its work

"If I didn't ring the bell at No. 1, I just lashed out at everyone around me and kept on pushing," says Messina about what pushed her initial career rise.

In 1999, though, she had a major hit rest at No. 2. She was still the genre's most-played female star on country radio.

Because the genre continued to move the goalposts upon which peak acclaim was defined, her impressive achievements were never entirely fulfilling.

"Walking that road left carnage that's remained in my life," Messina said. "It's crazy that the same person (pursuing succession country music two decades ago) is the same person currently driving their teenage kids to school and hockey practice."

Listening to 2,500-plus people at The Ryman on Saturday night belting every ad-lib in 1998's "I'm Alright," or offering a prolonged standing ovation after a searing performance by she and her band of 2005's "My Give A Damn's Busted," makes Messina's complete shock and awe at how she's arrived at playing the Ryman as a headliner for the first time in 35 years seem strange.

However, it's in Messina, having yet another pause in her career's latest era, exhales after discussing her career's run of 90s-era country-defining hits.

"Man, that was a LOT of work, wasn't it," she said.

Faith, life and career finally positively converge

For the past decade, Messina's Christian faith-defined life has emerged as more important than maintaining expectations of career acclaim defined by country's mainstream industry.

She describes herself as "a sheep looking for a shepherd and Jesus Christ emerged in my life as a shepherd looking for sheep." For her, faith "authentically merged my heart with my compassion, desires, empathy and selflessness."

"Music now exists for me as not being a showcase of what I've lived, seen and learned," she said. "I already have hits that will last the bulk of my lifetime. Now, I'm looking at my relationship with Christ as what will allow other doors to open in my career and life,"."