Album: Color Rit

Introduction
"Color Rit" is a 1989 album by American jazz guitar player Lee Ritenour, likewise called Captain Fingers. It is a follow-up to his effective 1986 album "Earth Run" and shows Ritenour's substantial growth as an artist throughout the 1980s. The album features a combination of both acoustic and electrical guitar styles, showcasing Ritenour's flexibility as an artist. A blend of jazz, Latin, and Brazilian influences, "Color Rit" is a musical reward for fans of smooth jazz, combination, and world music.

Background and Recording
Prior to the release of "Color Rit", Lee Ritenour had actually already developed himself as a flexible and celebrated guitarist in the jazz scene. His work as a session artist and solo artist made him a broad series of appreciation and recognition. The release of "Color Rit" projected as yet another important addition to Ritenour's substantial discography.

The recording of "Color Rit" occurs at various places, consisting of Ritenour's Los Angeles-based home recording studio, the Record Plant, and The Complex. The recording includes a host of distinguished musicians such as Dave Grusin, Ernie Watts, and Jerry Hey, in addition to skilled Brazilian percussionists Paulinho Da Costa and Alex Acuña.

Design and Composition
"Color Rit" features ten tracks, exploring a large range of sonic textures and designs. The opening track, "Bahia Funk", sets the phase with a positive, funky rhythm and brilliant brass area. The appealing tune and groovy rhythm set the tone for the remainder of the album.

"Etude", an acoustic solo piece, showcases Ritenour's lesser-known however similarly impressive fingerpicking strategy. The classical guitar influences evident in the structure are a testimony to Ritenour's flexibility and capability to adjust to numerous genres.

The album includes several tracks with strong Latin and Brazilian flavors. "Rit Variations II", a follow up to a comparable track on Ritenour's "Rit" album, highlights the sultry sound of the nylon-string acoustic guitar and intoxicating bossa nova rhythms. Other tracks, such as "Goin' on to Detroit" and "I Can't Let Go", blend Ritenour's smooth jazz perceptiveness with emotional R&B influences.

"Color Rit" also includes 2 collaborations with Ritenour's long-time good friend and fellow guitar player Phil Perry: "All the Same Tonight" and "Turn the Heat Up". Both tunes feature Perry's smooth, emotional vocals and Ritenour's smooth guitar work, further expanding the album's stylistic range.

Reception and Legacy
Upon its release, "Color Rit" got blended reviews from critics. Some applauded the album's variety and Ritenour's ability to master various styles, while others discovered it overly polished and doing not have in compound. However, the album achieved business success, reaching No. 4 on the Billboard Jazz Albums chart in 1989, demonstrating Ritenour's continued appeal among fans.

In the years considering that its release, "Color Rit" has actually retained its appeal as a notable jazz album that showcases Ritenour's extraordinary skill and diverse musicianship. The album's seamless mixing of smooth jazz, Latin, and Brazilian sounds has made it a staple in Ritenour's discography and a necessary addition to any collection of jazz guitar music.