The album includes songs from two sessions led by Bud Powell, recorded in 1947 (the first half) and 1953 (the second). While some might be into the coloration of old recordings, the lo-fi vibes aren’t for me. But while I wish this was a better recording, the music speaks for itself. It’s introspective, pensive and nostalgic.

I’m still discovering Bud Powell, but he’s quickly becoming one of my favorite pianists. His solos are highly rhythmic and melodic. His solos tell a story. Top notch! The Trios provide excellent accompaniment – the bass is right in front, grounding Powell’s jaunts.

Favorite tracks: I’ll Remember April, Somebody Loves Me, Bud’s Bubble, Off Minor, Nice Work If You Can Get It, and My Devotion.

5/5!

This album is CHEESY. ’80s Love-ballads all the way. Not melancholic or sad (it’s not a heartbreak album), but definitely corny and sentimental. Musically, expect plenty of chords and key-changes, full-on ’80s synthesizers and tons of reverb on the drums. The dramatic presentation includes Warwick’s (fabulous) singing, grandiose electric guitar solos, and the frequent use of backup singers. Awesome.

I love the production on this album. It sounds good. The Bass always delivers lots of punch, but without being fuzzy or unclear. Singers are presented in the front with lots of embellishments all around, including explosive horns and gentle, distant strings. I like it. Overall, “Friends in Love” is very reminiscent of Chicago’s “16” and “17”, which is not surprising, since both David Foster and Bill Champlin were involved as songwriters and instrumentalists. If I had to, I’d pick “Friends in Love”, “Never Gonna Let You Go”, and “With a Touch” as my favorites.

5/5, check it out!

A nice album. Don’t let the names fool you: while it features Gil, Bethânia and Veloso, it feels more like a João Jilberto album – gentle, calm and cheerful. Not overly avant-garde or “progressive”. Most songs have a child-like, upbeat quality to them, like nursery rhymes (“No Tabuleiro”, “Milagre”). I especially enjoy the production and engineering; the singers feel close, whispering, with lots of space between them and the instruments. Vocals, guitar and bass are at the center of most songs, with soft, distant orchestral arrangements fading in and out occasionally to accompany them. Minimal percussion. So there’s an interesting contrast between the intimacy of the vocals and guitar, on the one hand, and the accompanying orchestra, on the other – which feels distant but grand.

I like it a lot! 5/5, highly recommended.