(Nr.9 3 May 1997) writes: (translated from Dutch into English by Anton)
CANDY DULFER * For The Love Of You (Ariola/BMG)
Review Candy's New CD "for the love of you".
The (Dutch) musicmagazine
(Nr.9 3 May 1997) writes:
(translated from Dutch into English by Anton)
CANDY DULFER * For The Love Of You (Ariola/BMG)
This is only the fourth album of Candy Dulfer in seven years.
What strikes is the missing of UIco Bed. Where Candy her first
two albums together with the guitarist of Funky Stuff wrote and
produced, on Big Girl a change of the guard was to be announced.
Now is Thomas Bank Candy's musical and otherwise partner. The
success formula stays maintained, but shows some weared out spots,
just like the 'Saxy' play upon the words. Highlight is the by
Trijntje Oosterhuis and Berget Lewis sang Girls Should Stay
Together.
In Once You Get Started from Rufus sings Candy herself, but
she can Chaka Khan surely not pale. Candy's blowing is thick in
order, but you welcome her what more opposing play and also some
more fat beats. The songs with brought-in from outside, like Bird
and the remix of the titlesong, are more exciting than the rest.
The Isley Brothers-ballad For The Love Of You appears also
in five remixes on two CD-singles. The fans shall not fall with
this record a swelling (lump), but I make myself strong that,
if you after some time have an appetite for Candy, you take this
record out of the case.
PAUL MANAK
The house to house paper "WEEKEINDE Handels Post"
Nr. 19 7 May 1997 writes:
(translated from Dutch into English by Anton)
Candy Dulfer, ambassadress of the saxophone, delivers with
For The Love Of You again a fantastic record. The songs,
which are in the twilight area between jazz, funk and soul, are
piece for piece flattering for the ear. Striking is that there
are just a few real uptempo songs on the cd. The more rustic songs,
such as Girls Should Stick Together (with singing by Trijntje
Oosterhuis) stay however as a house.
The German magazine AUDIO 6/1997) writes:
(not translated)
For The Love Of You Ariola (BMG) 74321 46862 2
Wer Candy Dulfer schon einmal live erlebt hat, wird von diesem
Album entäuscht sein. Im Vergleich zu dem Power-Funk, den
die 27jährige Saxophonistin auf die Bühnenbretter bringt,
ist ihr viertes Album einfach zu glatt. Trotzdem: Der Silberling
hat seine Qualitäten. Immer noch stark von David Sanborns
Phrasierung beeinflusst, liefert die Niederländerin zwölf
sauber produzierte Nummern, die garantiert jede Cocktailparty
aufwerten. Gastmusiker wie die Total-Touch-Sängerin Trintje
Oosterhuis runden das relaxt klingende Programm ab. kal
Musik: ***
Klang: ****
Reviews Candy's First two CD's.
Hifi Video Test
Magazine July/August 1990 nr. 7/8
wrote:
(translated from Dutch into English by Anton)
CANDY DULFER
Saxuality
Ariola (ADD)
Our Candy blows very creditably and has thorough 'saxuality'.
The attention for her as a person is however striking. There are
enough gentlemen who are blowing as well or better where you never
hear anything about. Without doing damage to her talent, you can
put the case that she never like this in the publicity would have
come if she didn't look so nice. She came out well on covers of
magazines, while she hadn't made an own record. She scored true
enough with Dave Stewart a hit with an instrumental from the movie
'De kassière', but it was the question if she could stand
on her own legs.
She's been taking risk and has her friend Ulco Bed asked to deliver
music for her solo-debut. Whom played years with her and is one
of the most promising Dutch guitarists. He has with or without
Candy written the most songs for 'Saxuality'. I don't know if
it is because of him, but Candy has delivered a strong solo-CD.
They took of from the Prince-sound with short, staccato accents,
but the music belongs to the category fusion. She combines jazz,
funk and pop, something what dad Dulfer already is doing for more
then twenty years. Hans Dulfer wrote also a song for the album
'Home is not a house'. This is with 'So what' from Miles Davis
the only song that not by Candy and/or Ulco has been written.
The 19 year old has a modern, funky fusion record made which compete
with the music of top-acts as Spyro Gyra and Yellow Jackets.
Importance: 7; sound: 8
Roberto Palombit
The German magazine AUDIO wrote:
(not translated)
SAXuality Ariola (BMG) 260 696
Die 21jährige Blondine aus Holland bläst scharf (siehe
auch AUDIO 5/1990). Wer sie im Partyman-Video von Prince
übersehen und ihre Hit-Ko-produktion Lily Was Here
mit Eurythmics-Kopf Dave Stewart überhört hat, kann
sie nun solo in vollen Zügen genießen. Einziges Manko:
der Lily-Ohrwurm fehlt. Ansonsten aber tänzelt ihr
Altsaxophon virtuos über knalligen DancefloorBeats, gibt
einem funky Feger (und Hitanwärter) wie Heavenly City
erst den richtig prallen Drall. Keine Frage: Saxuality
hat das gewisse Etwas. cb
Musik: ****
Klang: ***
The musicmagazine
The German magazine AUDIO (3/1993) wrote:
On the Microsoft Music Central
97 cd-rom you can read the following about the first two
albums of Candy (the American versions):
Saxuality
**** "When I want sax, I call
Candy!" Prince yipped by way of introduction on the video
for last year's "Part Man Single," and within months
the Amsterdam-born 20-year-old had another older gentleman by
her side-Eurythmics' Dave Stewart-and another, even bigger hit,
the theme to Lily Was Here. Here then is her first solo album,
saucily titled and owing more for its style to His Purpleness
than His Beardedness. Mostly, though she plays sax not trumpet,
Candy Dulfer is school of modern Miles, one track here being a
cover to Davis's two-note classic from 1959, "So What,"
performed with the smoothly machined funkiness the grand old man
himself has favoured these last few years, calling "social
dance" rather than "jazz" (which to him smacks
of obsolescence). One Ulco Bed writes most of Candy's tunes, and
they would have sounded at home on Miles's TUTU or the occasional
Miles-like excursion Prince works out with his hornman Eric Leeds;
Heavenly Sister's jive-gospel vocals echo an influence on them
all, Sly Stone. Only occasionally does Candy bland out into Spyrogyra-style
fuzak; generally, praise be, she blows a breezy R&B commentary
on the main riff like a tenor-playing Lou Donaldson. She's good,
and this is a winning debut.
Sax-A-Go-Go
** Despite considerable attention,
it's yet to happen for Dutch saxophonist Candy Dulfer the way
it looked like it was going to. Band leader at 15, and an indisputably
good player, she's discovered that being everyone's favourite
player (Prince, Van Morrison, Aretha Franklin) isn't necessarily
the springboard for massive solo success. This is pretty much
a re-run of 1991's SAXUALITY and, while she continues to funk
it up admirably with The JB's and The Tower Of Power (sounding
as at home here as they did on Poison's last album), it's unlikely
to take her much further. There's no obvious hit to match "Lily
Was Here," her collaboration with Dave Stewart, and though
the quieter tunes like Bonnie Raitt's "I Can't Make You Love
Me" and Prince's own "Sunday Afternoon" threaten
to flare into life, there's way too much middling ensemble work.
Microsoft calls MUSIC CENTRAL 97 "your interactive one-stop
music source" the program runs under WINDOWS 95 and NT ,
but not under Windows 3.1 (3.11). There is a version for
the Mac. available.
(translated from Dutch into English by Anton)
Candy Dulfer
The big question with Candy Dulfers new cd is of course,
whether Sax-A-Go-Go the success shall exceed of Saxuality,
her first of which only in the United States of America more then
half a million copies were sold.
It shall not be the title: that is as dull as the last one. Likewise
the sleeve can't be the factor if it ain't going to be a success:
it fits with the title and shows Candy Dulfer as lying pin-up
of the fifties with her brass love in the left hand. And if publicity
guarantees high sales figures, then should Sax-A-Go-Go
be sold in enormous numbers. With the countless interviews on
radio, tv, magazines and newspapers it seems as if the new cd
is out for months.
And the music? That also can't hold a new success. Sax-A-Go-Go
is again a thought out sequence of fast songs and a single slow
piece, in which Dulfers saxophone naturally the leading part performs.
Just as on the previous Ulco Bed as arranger, multi-instrumentalist
and (co)-author of five songs put a heavy mark on the album. The
only but not unimportant difference is that all songs are sharper,
more solid and powerful then those on Saxuality, although
now also the drums sound again a little flat and mechanical.
Four songs are covers, under which Pick Up The Pieces that
the original from the Average White Band almost does forget and
where in by a sample of Prince's scream from Gett Off the
closing of Sax-A-Go-Go is being announced: the by the genius
from Minneapolis written Sunday Afternoon, a slow song
that with its large eight minutes something too long is being
stretched. On this evil suffer also the other, what slower songs,
but this has been compensated by the splashing dance songs, like
Compared To What, which is provided of the drumsample from
James Browns Funky Drummer. "Niet voor niets"
(word for word translated "Not for nothing"; it means
free translated "there is a reason for") has almost
every musician, from 'hard-core'-rappers as far as Madonna and
George Michael, this ingenious wobbly drumming meanwhile been
using and also this time it ain't missing target. Absolute highlight
is the title-song and present single Sax-A-Go-Go, that
even Jamming, in which Candy Dulfer goes on a saxophone-duel
with her great idol, the ex-James-Brown-musician Maceo Parker,
in the shadow puts.
Bernard Hulsman
(Nr.5 6 March
1993) wrote:
(translated from Dutch into English by Anton)
SAX SELLS
CANDY DULFER * Sax-A-Go-Go (BMG Ariola)
Since Saxuality seems her brass blurred with a thin layer
of gold. No Dutchgold, but pure precious metal as a result of
hard working in combination with an everywhere respectable refreshing
musical talent. Candy Dulfer is big business and let nobody there,
certainly in the Netherlands, draw a dirty face up. She deserves
it. More important then all glory and fame is the answer on the
question how Candy is going to shake of the pressure of the success
for the recordings of those always so difficult second CD. Well
then, any pressure on Sax-A-Go-Go is hard to find. At no
moment I am having the idea that she has something to prove. The
solos are sparkling, natural and many-sided. Candy has soul, funk
and in between the strings of the popmusic she finds besides room
for some jazzy improvisations, likewise for example in the melancholic,
by Prince written, Sunday Afternoon. Sax-A-Go-Go
is a successful commercial record, something what especially appears
from covers as the modest I Can't Make You Love Me (know
by Bonnie Riatt) and the swinging Pick Up The Pieces (Average
White Band). Piece for piece guaranteed hits. The own, together
with musical producer Ulco Bed written, songs depend on a prominent
presence, but sometimes what predictable dance rhythms and -grooves.
Without that foundation should Mr. Marvin (Gaye) and Man
In The Desert all too soon been slipped from the smoothy path
to the dangerous ravines of the commerce. Also therefore I hope
for a future with more, by emotions leaded risks. Now it is however
time for party. Candy's Sax a go, go, go, go, go! Edwin Ammerlaan
(not translated)
Sax-A-Go-Go Ariola (BMG) 11181-2
Hübsche Holländerin haucht dem Instrumental-Pop neues
Leben ein… Seit ihrer Arbeit für Prince und ihrem Debüt-Album
Saxuality wird die Saxophonistin Candy Dulfer gerne zur
Hoffnungsträgerin eines Genres stilisiert, das viele in den
Schlaf geblasen haben. Etwas bescheidener, bitte: Candy Dulfer
ist eine gute Musikerin, ihre neue CD beweist erneut Gespür
und Faible für einen angenemhen Mix aus rockjazzigen Soli
und einem soliden Fundament aus tanzbarem Funk-Pop-doch genau
damit riskiert sie, austauschbar zu werden. sei
Musik: ***
Klang: ****
Candy Dulfer
- Mat Snow
Issue #46 (July 1990)
© 1996 Microsoft Corporation and/or its suppliers.
All rights reserved.
Candy Dulfer
- Rob Beattie
Issue #81 (June 1993)
© 1996 Microsoft Corporation and/or its suppliers.
All rights reserved.
Below you'll see the window (the picture) of the Sax-A-Go-Go review
from Microsoft's Music Central 97.
to
get more info about Microsoft's MUSIC CENTRAL.
