An intimate portrait of recently retired Congressman Barney Frank, one of our most well-known and least understood political figures, this documentary alternates between deeply personal moments and the inner workings of our political process. Rare archival material and interviews reveal the emotional pain and harmful effects of a closeted life, the relief of coming out and the triumph of love through the Congressman's historic same-sex marriage. Frank's journey is our country's journey, a classic American story about a dedicated public servant who never loses hope.
Compared To That is that musical happy place somewhere between contemporary/modern jazz but with an old school sensibility. Bromberg is not reinventing the musical wheel. What Brian Bromberg does so incredibly well here is expand his sound and push the music forward. Guest artists include such diverse talents as Jeff Lorber, Bela Fleck and Randy Brecker combined with a deceptively subtle swing of a walking bass line punctuated with attitude so if this release doesn't make your musical back leg shake you may want to see if your autopsy report is ready.
Following the surprising commercial success of "Compared to What" in 1969, pianist Les McCann never managed to get another hit as hard as he tried. These two sessions originally released for Atlantic found McCann struggling with that goal instead of concentrating on his talent as a jazz musician. Unfortunately, the lackluster material found McCann merely falling back on the most predictable aspects of mid-'70s soul and R&B. McCann sings on a majority of the tracks, while the synthesizer noodling and string arrangements have not dated well. Only the Peter Allen/Carole Bayer Sager-penned "Will We Ever Find Our Fathers," featuring Herbie Hancock on piano, is of note.
Barry White turned into such iconic figure that it’s odd to hear his beginnings on his 1973 debut I’ve Got So Much to Give. In a sense, his sound is fully formed – there’s no mistaking his velvet baritone or his lush, string-draped surrounding, particularly on the album’s closing “I’m Gonna Love You Just a Little More, Baby,” a song so seductive it set the pace for the rest of his career. Still, behind that creamy drapery it’s possible to hear a strong debt to Isaac Hayes throughout I’ve Got So Much to Give, particularly when the whole affair opens a slow, steady, eight-minute crawl through “Standing in the Shadows of Love” that strips all the bounciness out of the Supremes original, just like how all of Hayes reworkings of ‘60s pop hits turned the hit versions inside out on Hot Buttered Soul. Barry may be following in Isaac’s footsteps, but he winds up on his own path, one that isn’t quite as ambitious, one that is fairly hellbent on romance to the exclusion of everything else.