Everybody has a favorite Neville Brother, and those who like funkified blues generally gravitate toward Cyril, the youngest of the New Orleans musical torchbearers. With Brand New Blues, his first solo disc since 2000, the percussionist-vocalist and founding member of the Meters brings his perspective as a human-rights advocate and wetlands preservationist to the original material and a few well-chosen covers.It's a postmodern blues sound, with plenty of soul and funk, plus world music influences. While this might be seen as an infringement on the blues trademark by purists, it's a refreshingly original approach to the music that should resonate with a non-blues audience, as well. Try the suggestive Cream Them Beans the Benoit guitar raveup on & Mean Boss Blues, the gritty version of the Bobby Blue Bland hit I'll Take Care of You and a version of Bob Marley's Slave Driver that seems redesigned for the post-Katrina years. Jeff Johnson –Chicago Sun-Times
New Orleans' favorite sons, the Neville Brothers, pool their talents again on this CD. Family Groove is a clever reference not only to the musical abilities of the four brothers, but to the shared interests and concerns of the brothers and their families. All the usual Neville elements are here: Charles Neville on the saxophone, Cyril Neville on the drums, Art Neville on piano, and the inimitable voice of Aaron Neville.This is vintage Neville Brothers philosophy delivered as always with the funky beat and unique Neville sound that has captivated fans all over the world.
The Neville Brothers, an American R&B and Soul group, was formed in 1977 in New Orleans, Louisiana.The differences between the four Neville Brothers are as dramatic as the similarities that unite them. The source of the similarities is passionate funk, a feeling for blues-soaked deep pocket grooves that is the basis of their greatness and exalted place in our cultural history.Art is the oldest. They call him Poppa Funk for a reason. He formed the first band. As both inspired singer and blistering keyboardist, his role models were Fats Domino and Bill Doggett. Art is the Founding Father. He still lives in the same Thirteenth Ward block of Valence Street where he and his siblings were raised in New Orleans.
Soulful singer and guitarist Tab Benoit has never made secret his devout allegiance to the Louisiana music tradition. With The Sea Saint Sessions, Benoit, ably assisted by several Crescent City stalwarts, takes his music back to the source, setting up shop at the famed hit factory to cook up a sonic gumbo that successfully recaptures the spontaneity of the classic Sea Saint sound. Benoit's guests conjure up some of the studio's old musical magic as "Big Chief" Monk Boudreaux infuses Mardi Gras Indian spirit into "Monk's Blues," Meter man George Porter Jr. funkifies "Making the Bend," and Cyrille Neville sings on his own "Plareen Man". But it is Benoit's distinctive guitar lines–somehow both supple and hard-edged–and the impeccable elasticity of his regular rhythm section that makes the music work. Most of the material is Benoit's own, although he pays tribute to Louisiana legend Guitar Slim with a take on the classic "Sufferin' Mind" and dips into the Howlin' Wolf songbook for a rendition of "Howlin' for My Darling".
Amongst several contemporaries of Scarlatti who devoted themselves to the solo cantata, one of the most prolific was influential globetrotter Giovanni Bononcini, who wrote up to 283. During the first quarter of the 18th century, Bononcini's cantatas represented the principal trend of this genre. In these works, a fluent and effective technique is combined with a real gift for the composition of melodies. These lamenti are the central element of Bononcini's dramatic works; his genius is perfectly adapted to tender and pathetic emotions. Another important aspect of his music is the magnificent use of the text. In 1789, Charles Burney called Bononcini "the most prolific cantatas composer" and claimed that Bononcini's recitatives were universally perceived as the best of their time. Now, Cyril Auvity and his ensemble L'Yriade offer an enthusiastic and totally committed interpretation of some of Bononcini's cantatas, revealing the extreme force of those magical works.