Eddie Chacon
Sundown
Boomkat Product Review:
Low-key neo-soul legend Eddie Chacon follows up 2020's triumphant "Pleasure, Joy and Happiness" with a jazzy, nostalgia-free jaunt assisted by Solange collaborator John Carroll Kirby.
Best known as part of '90s R&B duo Charles & Eddie, Chacon spent most of the last couple of decades working as a photographer and creative director before making a comeback in 2020. What was remarkable about his return was that it avoided the usual pitfalls - not an attempt to recapture past glories, "Pleasure, Joy and Happiness" was modern soul music penned by a more mature mind. He never expected it to be a success, assuming the album would bring him some kind of closure, but was happy to find that it connected with new listeners as well as seasoned fans. "Sundown Stones" continues where its predecessor left off, recorded partly in Ibiza over two weeks with a Fender Rhodes rented from local ravers. Chacon and Kirby listened to Pharoah Sanders' 'Greeting to Saud' every day for inspiration, not attempting to mimic its aesthetic but learn from its masterful economy.
When the duo returned to Los Angeles, they finished the recording with a hand-picked ensemble of collaborators: Logan Hones on flute and sax, Elizabeth Lea on trombone, Will Logan on drums and David Leach on percussion. And the result is an album that's might draw its energy from R&B's rich legacy, but never tries to emulate a bygone era's sound. Chacon sounds weathered but animated on 'Far Away', echoing over soft, swirling keys, delicate percussion and faint pan pipe breaths, and on 'Comes and Goes' he opens up emotionally while Kirby meets the complicated mood with detuned synths that queer the ensemble's restrained funk. There's a hint of Michael McDonald's enduring croon in Chacon's delivery, but he never slips into self-parody - the title track is so close to pop in many ways, but certain elements pull it back from the brink. Those curling flutes, or the syncopated rhythms give it an edge that supports Chacon's delightful voice cracks.
It's the best release we've heard on Stones Throw in ages, reminding of an overlooked period of digitized soul while suggesting new directions simultaneously. Recommended.
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Boomkat Product Review:
Low-key neo-soul legend Eddie Chacon follows up 2020's triumphant "Pleasure, Joy and Happiness" with a jazzy, nostalgia-free jaunt assisted by Solange collaborator John Carroll Kirby.
Best known as part of '90s R&B duo Charles & Eddie, Chacon spent most of the last couple of decades working as a photographer and creative director before making a comeback in 2020. What was remarkable about his return was that it avoided the usual pitfalls - not an attempt to recapture past glories, "Pleasure, Joy and Happiness" was modern soul music penned by a more mature mind. He never expected it to be a success, assuming the album would bring him some kind of closure, but was happy to find that it connected with new listeners as well as seasoned fans. "Sundown Stones" continues where its predecessor left off, recorded partly in Ibiza over two weeks with a Fender Rhodes rented from local ravers. Chacon and Kirby listened to Pharoah Sanders' 'Greeting to Saud' every day for inspiration, not attempting to mimic its aesthetic but learn from its masterful economy.
When the duo returned to Los Angeles, they finished the recording with a hand-picked ensemble of collaborators: Logan Hones on flute and sax, Elizabeth Lea on trombone, Will Logan on drums and David Leach on percussion. And the result is an album that's might draw its energy from R&B's rich legacy, but never tries to emulate a bygone era's sound. Chacon sounds weathered but animated on 'Far Away', echoing over soft, swirling keys, delicate percussion and faint pan pipe breaths, and on 'Comes and Goes' he opens up emotionally while Kirby meets the complicated mood with detuned synths that queer the ensemble's restrained funk. There's a hint of Michael McDonald's enduring croon in Chacon's delivery, but he never slips into self-parody - the title track is so close to pop in many ways, but certain elements pull it back from the brink. Those curling flutes, or the syncopated rhythms give it an edge that supports Chacon's delightful voice cracks.
It's the best release we've heard on Stones Throw in ages, reminding of an overlooked period of digitized soul while suggesting new directions simultaneously. Recommended.
Boomkat Product Review:
Low-key neo-soul legend Eddie Chacon follows up 2020's triumphant "Pleasure, Joy and Happiness" with a jazzy, nostalgia-free jaunt assisted by Solange collaborator John Carroll Kirby.
Best known as part of '90s R&B duo Charles & Eddie, Chacon spent most of the last couple of decades working as a photographer and creative director before making a comeback in 2020. What was remarkable about his return was that it avoided the usual pitfalls - not an attempt to recapture past glories, "Pleasure, Joy and Happiness" was modern soul music penned by a more mature mind. He never expected it to be a success, assuming the album would bring him some kind of closure, but was happy to find that it connected with new listeners as well as seasoned fans. "Sundown Stones" continues where its predecessor left off, recorded partly in Ibiza over two weeks with a Fender Rhodes rented from local ravers. Chacon and Kirby listened to Pharoah Sanders' 'Greeting to Saud' every day for inspiration, not attempting to mimic its aesthetic but learn from its masterful economy.
When the duo returned to Los Angeles, they finished the recording with a hand-picked ensemble of collaborators: Logan Hones on flute and sax, Elizabeth Lea on trombone, Will Logan on drums and David Leach on percussion. And the result is an album that's might draw its energy from R&B's rich legacy, but never tries to emulate a bygone era's sound. Chacon sounds weathered but animated on 'Far Away', echoing over soft, swirling keys, delicate percussion and faint pan pipe breaths, and on 'Comes and Goes' he opens up emotionally while Kirby meets the complicated mood with detuned synths that queer the ensemble's restrained funk. There's a hint of Michael McDonald's enduring croon in Chacon's delivery, but he never slips into self-parody - the title track is so close to pop in many ways, but certain elements pull it back from the brink. Those curling flutes, or the syncopated rhythms give it an edge that supports Chacon's delightful voice cracks.
It's the best release we've heard on Stones Throw in ages, reminding of an overlooked period of digitized soul while suggesting new directions simultaneously. Recommended.
Boomkat Product Review:
Low-key neo-soul legend Eddie Chacon follows up 2020's triumphant "Pleasure, Joy and Happiness" with a jazzy, nostalgia-free jaunt assisted by Solange collaborator John Carroll Kirby.
Best known as part of '90s R&B duo Charles & Eddie, Chacon spent most of the last couple of decades working as a photographer and creative director before making a comeback in 2020. What was remarkable about his return was that it avoided the usual pitfalls - not an attempt to recapture past glories, "Pleasure, Joy and Happiness" was modern soul music penned by a more mature mind. He never expected it to be a success, assuming the album would bring him some kind of closure, but was happy to find that it connected with new listeners as well as seasoned fans. "Sundown Stones" continues where its predecessor left off, recorded partly in Ibiza over two weeks with a Fender Rhodes rented from local ravers. Chacon and Kirby listened to Pharoah Sanders' 'Greeting to Saud' every day for inspiration, not attempting to mimic its aesthetic but learn from its masterful economy.
When the duo returned to Los Angeles, they finished the recording with a hand-picked ensemble of collaborators: Logan Hones on flute and sax, Elizabeth Lea on trombone, Will Logan on drums and David Leach on percussion. And the result is an album that's might draw its energy from R&B's rich legacy, but never tries to emulate a bygone era's sound. Chacon sounds weathered but animated on 'Far Away', echoing over soft, swirling keys, delicate percussion and faint pan pipe breaths, and on 'Comes and Goes' he opens up emotionally while Kirby meets the complicated mood with detuned synths that queer the ensemble's restrained funk. There's a hint of Michael McDonald's enduring croon in Chacon's delivery, but he never slips into self-parody - the title track is so close to pop in many ways, but certain elements pull it back from the brink. Those curling flutes, or the syncopated rhythms give it an edge that supports Chacon's delightful voice cracks.
It's the best release we've heard on Stones Throw in ages, reminding of an overlooked period of digitized soul while suggesting new directions simultaneously. Recommended.
Out of Stock
Boomkat Product Review:
Low-key neo-soul legend Eddie Chacon follows up 2020's triumphant "Pleasure, Joy and Happiness" with a jazzy, nostalgia-free jaunt assisted by Solange collaborator John Carroll Kirby.
Best known as part of '90s R&B duo Charles & Eddie, Chacon spent most of the last couple of decades working as a photographer and creative director before making a comeback in 2020. What was remarkable about his return was that it avoided the usual pitfalls - not an attempt to recapture past glories, "Pleasure, Joy and Happiness" was modern soul music penned by a more mature mind. He never expected it to be a success, assuming the album would bring him some kind of closure, but was happy to find that it connected with new listeners as well as seasoned fans. "Sundown Stones" continues where its predecessor left off, recorded partly in Ibiza over two weeks with a Fender Rhodes rented from local ravers. Chacon and Kirby listened to Pharoah Sanders' 'Greeting to Saud' every day for inspiration, not attempting to mimic its aesthetic but learn from its masterful economy.
When the duo returned to Los Angeles, they finished the recording with a hand-picked ensemble of collaborators: Logan Hones on flute and sax, Elizabeth Lea on trombone, Will Logan on drums and David Leach on percussion. And the result is an album that's might draw its energy from R&B's rich legacy, but never tries to emulate a bygone era's sound. Chacon sounds weathered but animated on 'Far Away', echoing over soft, swirling keys, delicate percussion and faint pan pipe breaths, and on 'Comes and Goes' he opens up emotionally while Kirby meets the complicated mood with detuned synths that queer the ensemble's restrained funk. There's a hint of Michael McDonald's enduring croon in Chacon's delivery, but he never slips into self-parody - the title track is so close to pop in many ways, but certain elements pull it back from the brink. Those curling flutes, or the syncopated rhythms give it an edge that supports Chacon's delightful voice cracks.
It's the best release we've heard on Stones Throw in ages, reminding of an overlooked period of digitized soul while suggesting new directions simultaneously. Recommended.
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