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West life. When you’ve comfortably shifted 44million albums during a 12-year career that has seen you top the charts on 14 separate occasions, you could retreat into your comfort zone.
Yet veterans Westlife have done the opposite on their eleventh collection.
They knew they could do better than before, and with Gravity the quartet of Nicky Byrne, Shane Filan, Mark Feehily and Kian Egan have come up with th...eir strongest album ever.
Gravity has a renewed sense of heart, soul, vigour and pride. The 12 tracks are crammed with a confidence and poise never before heard from the lads.
And John Shanks, who has crafted hits for Bon Jovi, Take That and Alanis Morissette, is the man responsible more than anyone else for this welcome turnaround in approach.
His influence is inescapable over Gravity’s duration. He manned the mixing desk during the sessions and co-wrote every single track - four with the band themselves.
And from the outset it’s clear this is an outfit with a renewed sense of purpose.
‘Safe’, the first single from the album showcases the awesome emotional weight of an outfit at the height of their powers. Opener Beautiful Tonight sweeps and explodes into life with electronic pulses adding to its sense of euphoria. Chances, a tender meditation on missed opportunity, echoes the grace and drama of Aerosmith’s I Don’t Wanna Miss A Thing. I Get Weak is a dark, graphic descent into despair and Too Hard To Say Goodbye a heart-tugging dissection of grief. The peerless pop craftsmanship of I Will Reach You sees the band reach epic new heights; a showcase of their best material to date.
Westlife have quietly made the most triumphant album of their lives.

Milt Jackson. Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or Bags as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.
Milt Jackson started on guitar when he was seven, and piano at 11; a few years later, he switched to vibes. He actually made his professional debut singing in a touring gospel quartet. After Dizzy Gillespie discovered him playing in Detroit, he offered him a job with his sextet and (shortly after) his innovative big band (1946). Jackson recorded with Gillespie, and was soon in great demand. During 1948-1949, he worked with Charlie Parker, Thelonious Monk, Howard McGhee, and the Woody Herman Orchestra. After playing with Gillespie's sextet (1950-1952), which at one point included John Coltrane, Jackson recorded with a quartet comprised of John Lewis, Percy Heath, and Kenny Clarke (1952), which soon became a regular group called the Modern Jazz Quartet. Although he recorded regularly as a leader (including dates in the 1950s with Miles Davis and/or Thelonious Monk, Coleman Hawkins, John Coltrane, and Ray Charles), Milt Jackson stayed with the MJQ through 1974, becoming an indispensable part of their sound. By the mid-'50s, Lewis became the musical director and some felt that Bags was restricted by the format, but it actually served him well, giving him some challenging settings. And he always had an opportunity to jam on some blues numbers, including his Bags' Groove. However, in 1974, Jackson felt frustrated by the MJQ (particularly financially) and broke up the group. He recorded frequently for Pablo in many all-star settings in the 1970s, and after a seven-year vacation, the MJQ came back in 1981. In addition to the MJQ recordings, Milt Jackson cut records as a leader throughout his career for many labels including Savoy, Blue Note (1952), Prestige, Atlantic, United Artists, Impulse, Riverside, Limelight, Verve, CTI, Pablo, Music Masters, and Qwest. He died of liver cancer on October 9, 1999, at the age of 76.
#jazz #miltjackson #mjq #vibes

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