"So Romantic" is the seventh album released by R&B singer Evelyn "Champagne" King on the RCA label in 1984. It was produced by Clif Magness, Glen Ballard, Carl Sturken, Evan Rogers, Hawk, Jimmy Douglass, and The System. The album peaked at #38 on the R&B albums chart. It produced the hit singles "Just for the Night", "I'm So Romantic", "Out of Control", "Give Me One Reason", and "Till Midnight".
I'm in Love is the fourth album released by R&B singer Evelyn King on the RCA label in 1981. It was produced by Morrie Brown, Willie Lester, Rodney Brown, Kashif, and Lawrence Jones. The album peaked at #6 on the R&B albums chart. It also reached #28 on the Billboard 200. It produced the hit singles "I'm In Love", "If You Want My Lovin'", "Don't Hide Our Love", and "Spirit of the Dancer". The album was certified gold by the RIAA. The album was digitally remastered and reissued on CD with bonus tracks in 2011 by Big Break Records.
is the third album released by R&B singer on the RCA label in 1980. It was produced by and . The album peaked at #58 on the R&B albums chart. It also reached #124 on the Billboard 200. It produced the single .
There are both good and bad points to this CD. Of the latter, the Phillip Morris "Super Band" is confined to background work with - other than a few spots for Plas Johnson's tenor - no soloists being heard from. As an ensemble, the all-star orchestra performs well, but is essentially anonymous. Also, despite the backing, B.B. King does not attempt to play jazz, a wasted opportunity. But, switching to the good points, Live at the Apollo is an excellent example of a strong B.B. King live performance. Somehow he always makes his combination of blues and familiar hits sound fresh. With a liberal amount of space set aside for his guitar solos, B.B. is in top form throughout the well-paced set, which is far superior to most of his overproduced studio sessions for MCA…
Recorded in 1973 as a foray away from the Modern Jazz Quartet, Milt Jackson's second entry on the CTI label is also one of its highlights. This is one of Creed Taylor's finest productions both in terms of material and sidemen. Drummer Steve Gadd, flutist Hubert Laws, bassist Ron Carter, and pianist Cedar Walton accompany Jackson on the majority of the album. Indeed, Jackson's ability to swing funky is evidenced to delightful extremes on "Old Devil Moon," with a rolling cymbal shakeout from Gadd, whose rim shots and tempo-pushing musculature are a sharp contrast to those of the MJQ's Connie Kay. Likewise, Laws, whose playing is usually over the top, stays inside melodic nuances here and provides Jackson with an essential harmonic foil. And Ron Carter is playing throughout with a popping edge he never had before or since.