After spending time on the road after the release of their self-titled debut Jazz Funk Soul, the superstar trio of Jeff Lorber, Chuck Loeb and Everette Harp booked more studio time, with the goal of capturing their dynamic onstage energy and flow on a follow-up release. The brilliant result may be called MORE SERIOUS BUSINESS, but these legends also have a blast, let loose and jam. Combine Harp’s soaring sax, Loeb’s brilliant inventive guitar and Lorber’s super funky piano, and the result is serious fun – percussive and punchy one minute, sweet and sensual the next. Combined, the three have amassed an incredible 50-plus #1 Smooth Jazz radio hits, including two from their debut as Jazz Funk Soul. There are sure to be a bunch more now that they’re getting down to MORE SERIOUS BUSINESS.
Solid, soulful blues, often with humorous, self-deprecating lyrics, comes from the well-respected vocalist, tenor player, composer, and veteran of the bands of Albert Collins, Buddy Guy, Magic Sam, and Son Seals. Reed has been called "the definitive Chicago blues sax player." This album features Reed's band, with guests Bonnie Raitt and Stevie Ray Vaughan.
Although it's filled with more pop than reggae, Serious Business represents a pivotal time for Third World. The talented group had spent the '70s and early '80s riding the precarious wave between roots reggae and pop-oriented, crossover reggae. Released in 1989, Serious Business announced the direction that Third World would take from then on. From the catchy, fluffy radio hit "Forbidden Love" to the gratuitous rap solo on "Theme From the Underdog," it's clear that the band chose the pop side and was making no apologies.
Great late 70s work from Jimmy Smith – two albums back to back on a single CD! One of our favorite later albums from organist Jimmy Smith – and a set that cooks heavily in a wicked blend of jazz, funk, and soul! The style's a bit like the groove that Johnny Hammond hit during his Gears period – arranged by Eugene McDaniels and Alan Silvestri, with an approach that's somewhere between Larry Mizell and Skip Scarborough – tight grooves, bits of vocals, yet plenty of room for Smith's keyboard solos to take off over the top! Players include Herbie Hancock on piano, Alan Silvestri on guitar, and Lenny White on drums – but the main star is Jimmy – who's grooving massively over the top of the album, with soaring solos that are some of his best work from the late 70s.
The U.K. edition of Anthology 1964-1998: Unfinished Business contains several tracks not on the American edition, which is a nice bonus, but it's not a great difference, not enough to warrant an extended search or significantly more money if you're buying this on import. However, if you happen across it for a good price, or if you live in the U.K., they make this already-excellent collection even better.
You want pile driving rock/blues with searing guitar, crashing chords and rip roaring songs about life love and the blues? Larry delivers. You like long, lean, linear, big toned guitar solos? Larry delivers. You dig passionate vocals with a life affirming timbre? Well in truth Larry tries hard and his rip roaring style pulls him through… 'Unfinished Business' has all the raw power, irrepressible spontaneity and above all a new found sonic quality that pushes Larry Miller up the next rung of the recording ladder. And while you could argue 'Unfinished Business' does trade in a shade of his quirkiness for a dash more sheen, the end result is still 9 tracks of sizzling rocking blues that any fans of Gary Moore and Bonamassa will surely lap up.