Deodato - Deodato 2 (1973) CD Rip

11 Mar, 00:44
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Artist: Deodato
Title: Deodato 2
Year Of Release: 1988
Label: CBS [ZK 409 30]
Genre: Latin Jazz, Crossover Jazz, Fusion
Quality: FLAC (tracks + .cue,log,scans) | MP3/320 kbps
Total Time: 48:30
Total Size: 273 MB(+3%) | 116 MB(+3%)
WebSite: Album Preview

Tracklist

01.Super Strut
02.Rhapsody in Blue
03.Nights in White Satin
04.Pavane for a Dead Princess
05.Skyscrapers
06.Latin Flute
07.Venus
08.Do It Again

personnel :

Eumir Deodato: Keyboards, Acoustic and Electric Piano
John Tropea: Guitars
John Giulino, Stanley Clarke: Bass
Alvin Brehm, Russell Savakus: Arco Bass
Billy Cobham, Rick Marotta, Frank Zee: Drums
Gilmore Degap, Rubens Bassini: Congas, Percussion

Deodato's debut for CTI, Prelude, earned him a genuine reputation for funky fusion with its groove-tight cover of "Thus Spake Zarathustra," the theme from Stanley Kubrick's 2001: A Space Odyssey. The rest of the album isn't quite as memorable, but it fit the bill and got nice reviews for its innovative read of Borodin and Debussy's "Prelude to the Afternoon of a Faun." On 2, the Brazilian composer and arranger dips into the funked-up fusion tank once again, and comes out with a more consistent disc than its predecessor. Arranged, conducted, and keyboarded by Deodato himself instead of CTI house arrangers Don Sebesky or Bob James, the maestro enlisted a fusion who's who of sidemen including drummer Billy Cobham, bassist Stanley Clarke, and flutist Hubert Laws, as well as rockers like John Tropea on guitar. The larger ensemble that provides brass, woodwind, and string support includes trumpeter Jon Faddis and Jim Buffington. "Super Strut" kicks it off. Deep-grooved lines of accented angular riffing and rim-shot syncopation by Cobham turn this simply notated four-stepper into a burning ball of greasy rock and souled-out jazz. This is followed by a wildly campy but nonetheless wondrous read of "Rhapsody in Blue" done Stevie Wonder-style. Deodato's keyboard work never lets the groove drop; he pulls the rhythm section down around him and hunkers his phrasing to punch up the long, sweeping horns and string lines. Less successful is a read of "Nights in White Satin," with its overwrought strings, and a "Pavane for a Dead Princess" that's a snore. The album officially closes with "Skyscrapers," another jazz-rock rave-up that blasts holes in the sonic sky with its dueling keyboard and guitar lines.~Thom Jurek

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