Avenues Of Love
发行时间:2009-10-27
发行公司:华纳唱片
简介: by Jonathan WidranA top-notch adult contemporary vocalist still awaiting a well-deserved crossover commercial breakthrough, Marilyn Scott adds powerful fuel to her cause on Avenues of Love by helping herself with a well-balanced array of production and songwriting talent. George Duke surrounds her with party voices and a kneejerking Latin groove on a playful list of dance steps on "I Like to Dance," then surrounds her clear, sensuous voice with airy, billowing synth cushioning on the Bacharach-David classic "The Look of Love." Scott and bassist Jimmy Haslip reroute to Memphis on Michael Ruff's Wilson Pickett-like pick me up, "Love Is a Powerful Thing," engaging a two-piece horn section that sounds even larger. The Yellowjacket touch is in full effect on the picturesque "Avenida del Sol," which approximates an update of the gentle Astrud Gilberto sound; the tune was written by Scott and Bob Mintzer, and produced by Scott, Haslip, and Russell Ferrante. Scott's greatest gift here is her sense of modulation; she belts like crazy on the funk pieces, but recognizes the emotional power of restraint on the ballads.
by Jonathan WidranA top-notch adult contemporary vocalist still awaiting a well-deserved crossover commercial breakthrough, Marilyn Scott adds powerful fuel to her cause on Avenues of Love by helping herself with a well-balanced array of production and songwriting talent. George Duke surrounds her with party voices and a kneejerking Latin groove on a playful list of dance steps on "I Like to Dance," then surrounds her clear, sensuous voice with airy, billowing synth cushioning on the Bacharach-David classic "The Look of Love." Scott and bassist Jimmy Haslip reroute to Memphis on Michael Ruff's Wilson Pickett-like pick me up, "Love Is a Powerful Thing," engaging a two-piece horn section that sounds even larger. The Yellowjacket touch is in full effect on the picturesque "Avenida del Sol," which approximates an update of the gentle Astrud Gilberto sound; the tune was written by Scott and Bob Mintzer, and produced by Scott, Haslip, and Russell Ferrante. Scott's greatest gift here is her sense of modulation; she belts like crazy on the funk pieces, but recognizes the emotional power of restraint on the ballads.