As most baby-boomer jazz fans will recall, Brazilian pianist, producer and arranger Eumir Deodato, billed by only his surname, created quite a stir in the early 1970s when his LPs Prelude and Deodato 2 helped define the sultry, sharp vibe of CTI Records. One particular track on Prelude, Deodato’s funky recasting of Strauss’ “Also Sprach Zarathustra,” became a hit, won a Grammy and is now an enduring cultural footnote. Deodato hasn’t released new music in a long time, and The Crossing appears to be an attempt to gain some 21st-century relevance. The results are mixed.
Beginning the CD with two songs featuring Al Jarreau is understandable. But “Double Face” is a blatant stab at airplay, which would be a good move if the song were any good; it’s too coy, and the wordplay (“Double feature/double creature/that’ll teach ya”) is too corny. Better is “I Want You More,” a cool, leisurely stroll where Jarreau’s histrionics are tempered by the seductive come-ons of Dora Nicolosi of Novecento.
The best songs on this CD recall the Deodato of old: the electric-piano wanderings, the soft strings, the extended jams-all perfect for background music at a space-age bachelor pad. It’s those vintage inflections that make this disc worthwhile-say, percussionist Airto Moreira joining in on “Border Line,” and John Tropea laying down ’70s-style electric guitar lines on “Night Passage” and the standard “Summertime.”
The main theories are the impact theories by Bennett and Belfiore (2008. Whereas Sections 2.1, 2.2, 3.1and 3.2 were written by Giuditta Deodato. Users of TripAdvisor are also relatively free to share a range of opinions. (1996) Crossing the Great Divide: Coproduction, Synergy, and Development. View credits, reviews, tracks and shop for the 2010 CD release of The Crossing on Discogs.
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