Take 6 Albums (12)
What The Critics Say
There are two ways to interpret the title of the famed multiple Grammy- and Dove Award-winning vocal group's debut on Heads Up Records. First and most obviously, it's a reference to the way they have been setting high bars in the jazz and gospel worlds for 20 years, scoring as many Grammys as Doves (ten) with their beautiful and snazzy vocal textures. Then of course there's the wonderful choice of classic jazz material, ranging from their whistle and fingersnappin' approach to "Sweet Georgia Brown" to Nat King Cole's exuberant suggestion to "Straighen Up and Fly Right" and Ella Fitzgerald's "A-Tisket, A-Tasket," featuring her own charming vocals from a session done in 1938! In taking a traditional jazz approach to some of the Great American Songbook's foundational treasures, the sextet ensemble has had so many guest artists they could temporarily be dubbed Take 7, 8, or 9. Besides bringing back Ella, they've got George Benson's snappy lead vocals and crisp guitar lines on the Cole song; the vocal zigzags of Al Jarreau and lyricist Jon Hendricks on Hendricks' classic "Seven Steps to Heaven" (which also features the cool flugelhorn of Till Brönner); and a wistful Aaron Neville on the geographically appropriate "Do You Know What It Means to Miss New Orleans?" Group member Claude McKnight's famous vocalist brother Brian McKnight gets in on the grooving gospel of "What's Going On?" Beyond the all-stars, Take 6 also discovers some new talent with Shelea Frazier, who wrings every ounce of emotion out of a touching "Someone to Watch Over Me" with the help of Roy Hargrove. "Shall We Gather at the River" and the Quincy Jones/Jeremy Lubbock wordless seduction "Grace," remind us of Take 6's gospel roots, and a witty twist on the Sesame Street standard "Bein' Green" makes it suddenly cool and environmentally proper to be that color. The track features colorful new lyrics by the family of the song's composer, the late Joe Raposo. True to the album's title, Take 6 sets a new standard of creativity on their latest disc. ~ Jonathan Widran, All Music Guide
What The Critics Say
Four years after their last major-label release, inspirational a cappella group Take 6 returns with their first self-released album. Their last album for Warner Brothers, 2002's Beautiful World, was a muddle of pop covers and mild gospel with some ill-advised forays into smooth jazz instrumental backing that sounded well out of place with the sextet's trademark interlocking vocal parts. For Feels Good, the group get back to their roots both musically and spiritually, delivering straightforward inspirational tunes with nothing but their truly remarkable voices. Street-corner doo wop, the more sophisticated, jazzy vocal arrangements of the Ink Spots or the Four Freshmen, and the smooth R&B blend of the Four Tops or Boyz II Men are all present and accounted for, and the material is both perfectly arranged and delivered with passionate, devotional intensity. Feels Good is a welcome comeback for a group that had been unfairly marginalized during its major-label tenure. ~ Stewart Mason, All Music Guide
'Beautiful World'
Release Date 4/23/2002
Tracks 13
Label Warner Bros.
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What The Critics Say
With intelligence, imagination, passion, and skill, Take 6 offers an unprecedented convergence of a cappella vocal artistry with solid instrumental accompaniment on Beautiful World. Produced by the highly talented Marcus Miller (of Miles Davis' electric period fame) and fueled by the intriguing messages delivered on 13 great songs from the pop, gospel, and soul styles, Beautiful World is overflowing with inventive lyricism and catches the listener up in Take 6's musical stories. The title track is performed with new lyrics to the verses that give it an actual gospel message, a departure from the tongue-in-cheek cynicism of the original song released as "I.G.Y. (What a Beautiful World)" by Steely Dan. David Thomas sings a very beautiful "Fragile" -- the pop hit made famous by Sting -- with such reverence and feeling that he transcribes the song's impact for a new generation of soul/gospel enthusiasts. On "Takin' It to the Streets," the addition of alto saxophone riffs by David Sanborn alongside the six-man group's vocal harmonizing makes it even more enjoyable. Alvin Chea's vocal bass "walkin'" style of a cappella singing is the perfect alter ego for Marcus Miller's explorative "talkin'" bass guitar lines that have been heard around the world. Joey Kibble's fresh reprise on "Grandma's Hands" is uplifting, containing spiritual encouragement that, along with a ripe saxophone interpretation of the refrain, makes this song a pick. The multiple award-winning group's classic African-American gospel-based interpretations of some of the most enjoyable music of the 20th century -- combined with new instrumental dimensions -- make Beautiful World an excellent addition to your listening pleasures. ~ Paula Edelstein, All Music Guide
What The Critics Say
One of the great joys of this largely a capella sextet is that while the message of Christ is at the center of everything they do, their spiritual presentation never comes across as heavy-handed. Their recordings and live shows are more invitations to share the joy they have in the Lord, rather than the "believe or else" type of message. This exquisite live date (recorded at Tokyo's Blue Note in October 1999) features a perfect balance of the R&B, jazz, and gospel that made them famous, combining tunes that are all vocal textures (like the buoyant "If We Ever Needed The Lord Before") with pop tunes redirected towards God ("Smile" and "How Sweet It Is") that feature gentle accompanying instrumentation. Most impressive amidst the joyful churchy grooves is the break into a tribute to a lesser god, that of chief influence Miles Davis. The cover of "All Blues" features a vocal bassline and some gentle vocalese over an intimate piano harmony (by Take 6 member Cedric Dent) before breaking for a wailing trombone solo by Claude McKnight. The tune then explodes vocally as various members of the band re-create the trombone and muted trumpet sounds and wail along. Very inventive. Another clever moment comes on the lengthy closer medley "I've Got Life/Spread Love" when the six split into a vocal trio and a percussion trio which sounds like a full blown hip-hop drum machine track. If only all church services were this enjoyable! ~ Jonathan Widran, All Music Guide
'We Wish You a Merry Christmas'
Release Date 9/24/1999
Tracks 11
Label Warner/Reprise
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What The Critics Say
Who better to ring in Christmas with than one of the greatest contemporary gospel groups in the world? Kirk Whalum (whose soprano sax weaves in and around a lively vocal improvisation on "Let It Snow") has said that, as a faithful Christian, he won't do a holiday album because every secular musician has done one for commercial purposes. Fortunately, the sixsome combine their amazingly strong witness with joyous arrangements of classics on their second Christmas disc--perfect for religious and secular celebrations. As with all their mostly a cappella recordings, the uniqueness of the Take 6 sound lies in their vocal arrangements. You almost feel you need three speakers to capture all the diverse activity of a brief but unforgettable combo of "We Wish You A Merry Christmas" and "Carol of the Bells." The first segues into the second, then comes back so that two voices are singing "Wish," two are singing "Carol" and two are intertwining other verses of "Wish" all in a colorful swirl. In addition to the Whalum solo, "Let It Snow" features a rhythm groove provided by nonstop finger snapping. And--rare for a reverent gospel group--they vocally improvise a cool Southern porchswing setting before delving into a rousing version of "Go Tell It On The Mountain." Towards the end of the piece, the texturing of the underscoring "Hallelujahs" is so remarkable that it requires an extra credit--"Vocal Editing: John Lawry." It's amazing how many Christmas albums come out every year with the same familiar tunes on them, and how few add anything new to the culture. The great blessing is that Take 6 gives back to God and their fans with a unique flair that bears repeated listening. ~ Jonathan Widran, All Music Guide
What The Critics Say
Take 6 returned to a largely a cappella approach on their sixth album, So Cool, which had the effect of reminding listeners what was distinctive about them. With a band, they sometimes sounded like just another good R&B vocal group (albeit one strictly devoted to religious lyrics); on their own, they could evoke everyone from Manhattan Transfer to Ladysmith Black Mambazo while dazzling with their vocal blend and expressive solos. If they fell down anywhere, it was in their songwriting, which provided a platform for the vocal pyrotechnics and conveyed their Christian beliefs, but did not impress otherwise. ~ William Ruhlmann, All Music Guide
What The Critics Say
Take 6 faces the classic problem for an act that crosses genres -- in their case from gospel to R&B -- to retain what makes them so effective in their original field (and keep their original audience) while expanding their scope beyond it. They owed their original impact to the awe they inspired as six a cappella singers, and so revitalized gospel. That was on their first, million-selling album; by their third, they had added instruments and taken a more conventional approach. Here, on their fourth, they fell between chairs, with Brian McKnight's production and musical arrangements making them sound like a more wholesome Boyz II Men while they wrote first-person songs with titles like "You Don't Have to Be Afraid" and "I'll Be There" as if speaking in the name of Christ while sounding suspiciously like a boyfriend. Of course, that's an old gimmick in crossover Christian music, but the old problem is that it never gets sexy enough to be convincing. The difference was marked in a song like "Jesus Makes Me Happy," when the group really laid their cards on the table and sounded more fervent as a result. But there wasn't enough of that on an album that frequently masked the group's real strengths. ~ William Ruhlmann, All Music Guide
What The Critics Say
This gospel-infused, jazz-inspired sextet shows all the little boy vocal harmony groups how it's done. The lyrics are geared towards God, but the slick, bubbly production is cool and soulful R&B all the way. Their picture-perfect, rhythmically fascinating voice texturing certainly doesn't need any embellishment; however, on hand to lend support are Stevie Wonder, Ray Charles, Kirk Whalum, and Gerald Albright. In light of all the self-contained artistic brilliance, it's sad that they resorted to the commercialism of a bland David Foster ballad and a Queen Latifah rap. Top cuts include "Biggest Part of Me" (remake of the old Ambrosia hit), "It's Gonna Rain," and "I've Got Life." ~ Jonathan Widran, All Music Guide
'He Is Christmas'
Release Date 1/1/1991
Tracks 10
Label Warner Alliance
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What The Critics Say
This CD finds the somewhat miraculous a cappella sextet Take 6 emphasizing the religious side of the holiday season. One of the world's only gospel jazz groups, Take 6 uses advanced harmonies and sophisticated improvisations while always keeping "the message" in the forefront. However, this Christmas set is rather brief (just 35½ minutes) and, even with a few highlights (the Yellowjackets' guest appearance on "God Rest Ye Merry Gentlemen" and a drum machine used to humorous effect on the bizarre "'Twas Da Nite"), the results are not all that essential. ~ Scott Yanow, All Music Guide
