✪ Earthglow ✪ David Benoit has been quoted as saying that when he started r… Read Full Bio ↴✪ Earthglow ✪
David Benoit has been quoted as saying that when he started recording Earthglow, he wanted the entire album to have a very electronica-minded approach, "with long loops and lots of samples, with a little piano in the mix." But Clark Germain, who Benoit co-produced Earthglow with, felt that going too far in the electronica direction would be a mistake -- and Benoit decided that Germain was right. That's a good thing because Earthglow, it turns out, is one of the more memorable albums in Benoit's catalog. Will's Chill (which was named after will.i.am of the Black Eyed Peas) and Straight Away offer some acknowledgment of the downtempo/chillout/trip-hop aesthetic one finds on the softer side of electronica, but even then, Benoit doesn't allow the production to smother his musicianship. And even though much of Earthglow is relevant to smooth jazz, Benoit (who is heard on both electric keyboards and acoustic piano) isn't offering the type of lightweight elevator music that he has often been criticized for recording in the past. Earthglow is commercial music, but it's commercial music with integrity and substance. That is evident on Botswana Bossa Nova, which draws on soul-jazz, Brazilian jazz, and African pop; it is evident on the somewhat Joe Sample-ish title song and the hypnotic Sneaky as a Cat, which is mindful of both bossa nova and modal jazz. This 2010 release is by no means the work of a jazz purist, but it is definitely an album with a jazz mentality. And like 1989's Waiting for Spring (a straight-ahead bop/post-bop effort with an obvious Bill Evans influence) and 2008's Jazz for Peanuts (a tribute to Vince Guaraldi), Earthglow demonstrates that Benoit is quite capable of providing substantial, intelligent music when he puts his mind to it.
Credits
Chris Bellman -- Mastering
David Benoit -- Synthesizer, Piano, Piano (Electric), Producer, Fender Rhodes, Sequencing Programmer
Rick Braun -- Trumpet, Flugelhorn, Guest Appearance
Steve Chapman -- Management
Larissa Collins -- Art Direction
Brad Dutz -- Percussion
Michael Gassel -- Package Design
Clark Germain -- Producer, Liner Notes, Editing, Mixing, Recording, Pro-Tools
Jim Gosnell -- Booking
Bud Harner -- Management
David Hughes -- Bass (Electric), Bass (Acoustic)
Jeff Kashiwa -- Sax (Alto), Sax (Tenor), Guest Appearance
Pat Kelly -- Guitar (Acoustic), Guitar (Electric), Guest Appearance
Albert Mata -- Assistant Engineer
Karen Smith -- Librarian
Lori Stoll -- Photography
Jamey Tate -- Drums
Jean Wang -- Web Design
Brian Warfield -- Music Preparation
Tim Weisberg -- Flute, Flute (Alto), Flute (Bass), Guest Appearance
David Benoit has been quoted as saying that when he started recording Earthglow, he wanted the entire album to have a very electronica-minded approach, "with long loops and lots of samples, with a little piano in the mix." But Clark Germain, who Benoit co-produced Earthglow with, felt that going too far in the electronica direction would be a mistake -- and Benoit decided that Germain was right. That's a good thing because Earthglow, it turns out, is one of the more memorable albums in Benoit's catalog. Will's Chill (which was named after will.i.am of the Black Eyed Peas) and Straight Away offer some acknowledgment of the downtempo/chillout/trip-hop aesthetic one finds on the softer side of electronica, but even then, Benoit doesn't allow the production to smother his musicianship. And even though much of Earthglow is relevant to smooth jazz, Benoit (who is heard on both electric keyboards and acoustic piano) isn't offering the type of lightweight elevator music that he has often been criticized for recording in the past. Earthglow is commercial music, but it's commercial music with integrity and substance. That is evident on Botswana Bossa Nova, which draws on soul-jazz, Brazilian jazz, and African pop; it is evident on the somewhat Joe Sample-ish title song and the hypnotic Sneaky as a Cat, which is mindful of both bossa nova and modal jazz. This 2010 release is by no means the work of a jazz purist, but it is definitely an album with a jazz mentality. And like 1989's Waiting for Spring (a straight-ahead bop/post-bop effort with an obvious Bill Evans influence) and 2008's Jazz for Peanuts (a tribute to Vince Guaraldi), Earthglow demonstrates that Benoit is quite capable of providing substantial, intelligent music when he puts his mind to it.
Credits
Chris Bellman -- Mastering
David Benoit -- Synthesizer, Piano, Piano (Electric), Producer, Fender Rhodes, Sequencing Programmer
Rick Braun -- Trumpet, Flugelhorn, Guest Appearance
Steve Chapman -- Management
Larissa Collins -- Art Direction
Brad Dutz -- Percussion
Michael Gassel -- Package Design
Clark Germain -- Producer, Liner Notes, Editing, Mixing, Recording, Pro-Tools
Jim Gosnell -- Booking
Bud Harner -- Management
David Hughes -- Bass (Electric), Bass (Acoustic)
Jeff Kashiwa -- Sax (Alto), Sax (Tenor), Guest Appearance
Pat Kelly -- Guitar (Acoustic), Guitar (Electric), Guest Appearance
Albert Mata -- Assistant Engineer
Karen Smith -- Librarian
Lori Stoll -- Photography
Jamey Tate -- Drums
Jean Wang -- Web Design
Brian Warfield -- Music Preparation
Tim Weisberg -- Flute, Flute (Alto), Flute (Bass), Guest Appearance
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Earthglow
David Benoit Lyrics
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