Dancing in the Rain

Editorial Reviews

All Music Guide - Jonathan Widran
Having recorded and toured with some of the most popular performers in smooth jazz, it would have been very easy for composer and multi-instrumentalist Alec Milstein to go the safe route for his solo debut and create a mainstream recording in that genre. Feeling the artistic need to dig much deeper, Milstein on Dancing in the Rain explores a great love for Latin music which he first cultivated when he became aware of a South American heritage on his mother's side of the family. While his career as both a sideman and composer for television and film has allowed him to dabble in original expressions of many Latin cultures, this is the first time Milstein has had the ...
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Editorial Reviews

All Music Guide - Jonathan Widran
Having recorded and toured with some of the most popular performers in smooth jazz, it would have been very easy for composer and multi-instrumentalist Alec Milstein to go the safe route for his solo debut and create a mainstream recording in that genre. Feeling the artistic need to dig much deeper, Milstein on Dancing in the Rain explores a great love for Latin music which he first cultivated when he became aware of a South American heritage on his mother's side of the family. While his career as both a sideman and composer for television and film has allowed him to dabble in original expressions of many Latin cultures, this is the first time Milstein has had the opportunity to express the fullness of his melodic and polyrhythmic artistry. Dancing in the Rain opens with "Cantare," a rousing celebration of song equating music with rest and joy and featuring Milstein's textured vocals among cool soundscapes and a breezy acoustic guitar. The festive, tropical-flavored title track includes the buoyant invitation to "Baila!," while "Amor Mio" finds Milstein in a reflective mood, longing dreamily for love with a graceful guitar/vocal combination. The lively, anthemic reminder that "Love Grows All Around the World" features a playful, jazzy piano solo by Frank Strauss; Sandy Stein tackles the ivories on the Tito Fuente-styled jam "Son Montuno," which features an irresistible "la la" chorus. After another gentle, lovelorn expression in "Walk on Over," Milstein explores the subtle exotica of Brazil with the moody and haunting "Cancion de Amor." Rounding out the set are the all-out fiesta "Count the Ways" featuring Strauss on accordion and Milstein singing and playing over an explosive Cumbia rhythm; and the lovely Brazilian flavored sing-along "Samba Saudades I Miss the Samba," which is created around a Pagodge-styled samba groove.
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Product Details

  • Release Date: 4/11/2000
  • Label: Noteworthy
  • UPC: 783481200120
  • Catalog Number: 2001
  • Sales rank: 374,623

Album Credits

Performance Credits
Alec Milstein Primary Artist, Primary Artist, Bass, Guitar, Rhythm Guitar, Keyboards, Vocals, Tres, fender rhodes
Freddie Crespo Background Vocals
John DeFaria Rhythm Guitar, Guitar (12 String Electric)
Howard "Buzz" Feiten Guitar
Leroy Osbourne Background Vocals
Ron Powell Rainstick
Eddie Resto Bass, Ampeg Baby Bass
Kevin Ricard Percussion
Sandy Stein Piano
Frank Strauss Piano, Accordion, String Pads
Sean Holt Background Vocals
Einstein Brown Chant
Danny Donnelly Guitar, Rhythm Guitar
Sarah Taylor Background Vocals
Technical Credits
Tito Puente Composer
Alec Milstein drum sequencing
Ron Powell Sound Effects, Contributor
Doug Sax Mastering
Russell Baer Cover Photo, Sleeve Photo
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