A few years ago, Russ Freeman was airing some regrets about letting his solo career go in favor of maintaining the Rippingtons, his mighty successful band. How could he explore his artistic side when fans expect the pop sound of the Rippingtons? Freeman has worked on getting his guitar sound to be more of a part of the Rippingtons sound, starting by stripping away lots of the synthesizers and overdubbing that made albums such as Tourist In Paradise and Welcome To The St. James Club such technological treats. And now he really has a chance to strut his stuff, teaming up with longtime friend and contemporary jazz master, David Benoit. The two have collaborated on what will probably be one of the top releases of 1994. The Benoit/Freeman Project.

Benoit and Freeman had played gigs together in Los Angeles in the 1980’s. Freeman was signed to Brainchild Records. which released his debut solo album. Nocturnal Playground. He then was sent to the Passport Jazz label which released the original Rippingtons album, Moonlighting (which also featured other L.A. players such as Kenny G and Dave Koz). Freeman appeared on some of Benoit’s earlier albums as well. But as each became more popular in their own right, their schedules made it difficult to reunite. In late 1992, however, Benoit put in an appearance at a couple of live Rippingtons shows, which were recorded for last year’s Rippingtons release, Live In L.A.

The Benoit/Freeman Project is obviously a labor of love, especially for Freeman who seems to dominate the album. He plays his wide assortment of acoustic, electric, and classical guitars, including a rarely heard Wes Montgomery style. Freeman has a hand in composition of all of the songs except for the remake of Earth Wind and Fire’s “After the Love Has Gone.” Six of the ten tracks are written by the duo. The lead track, the incredibly infectious “Reunion” is a song in the classic Freeman style, with a melody that won’t let you go. Kenny Loggins collaborates with the two on “When She Believed In Me.”

Freeman is obviously anxious to show that he can compose and play other types of music than the funk/rock of the Rippingtons. “Mediterranean Nights” and “That’s All I Could Say” are moody pieces in which Freeman uses his synthesizers to pull out symphonic sweeps. “The End of Our Season” is a bittersweet track full of emotion. Benoit sticks to piano throughout the release, leaving the keyboards to Freeman. He gets to play a little on the upbeat “Swept Away” and his own piece, the pleasant “It’s the Thought That Counts.” “Smartypants” is a fun track with bursts of brass, lots of funk, and some jazz. And the duo pulls out “Mirage” from the Rippingtons’ Moonlighting album for a fresh play.

Despite the stellar power of the duo, they also bring in other big name players such as Nathan East on bass, Phil Perry on vocals, and longtime players with both gentlemen, Tony Morales on drums and Steve Reid on percussion. 

The Benoit/Freeman Project was released in early 1994 on the GRP Records label.

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Review of the contemporary jazz recording Departure by Hiroshima by John Hilderbrand

I stopped writing reviews a few years ago. One of the major reasons is that I just didn’t have any new things to say. Fortunately, Hiroshima doesn’t have that problem. The group, led by Dan Kuramoto, continues to make their own East Meets West contemporary jazz. Departure, their 18th recording, is defined by its title. They are releasing this on their own. No record label marketing push or anything like that. They’re an indie band.

“Why Departure? Where do I begin? After more than 30 years in the recording industry — and almost four million records sold – we’ve decided to leave record companies behind and venture on our own,” Kuramoto explains. “It’s kinda scary, but given the changes in the music industry and what it’s now going to take for us to survive, we are moving toward direct contact with the community.”

What about the music? Kuramoto breaks it down: “It is a new beginning for us in many ways. The songs are all originals with just one guest artist, the incredible harmonica player Tetsuya “Tex” Nakamura, featured on the luscious opening track, “Have You Ever Wondered,” composed by June and Kimo. “Koto Cruise” is the second song and features a funky groove and a burning koto solo. “Blues for Sendai” is just that. There’s a tribute to our friend and mentor James Moody, who passed last December. It’s called “See You Again,” and there is a lot of ‘quoting’ from his “Moody’s Mood for Love.” After many years of requests, we have recorded our first full-on taiko solo ever, “Yamasong”–a live recording that really captures Shoji and Danny’s fierce interplay. “First Nation,” a composition by the Hawaiian Kimo Cornwell, is a powerhouse of a song embracing many cultures, as does our reincarnation of “Thousand Cranes.” The CD ends with a soulful version of “One Wish,” done as an acoustic trio.”

Consistent quality, a distinct sound, and longevity = win. If I were creating a Contemporary Jazz Hall of Fame, Hiroshima would certainly be an early inductee.

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Dan Kuramoto sums up Legacy best: “I would like to think that there’s a heart and a voice within this music that doesn’t go out of style,” he says. “These songs are as fresh and meaningful to us today as they were the first time they were recorded. They’re not of a particular genre. They are our musical heart. They shift gears from Japanese to jazz to salsa to R&B and beyond. Throughout each piece, you can hear the echoes of all the experiences that have influenced us along the way.”

Look for Legacy from Hiroshima out on August 18 on the Heads Up label.

Pre-order Legacy from Amazon.com!

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