Percussionist Ray Mantilla's Space Station (a group that includes Dick Oatts on saxophones and flute, pianist Eddie Martinez, bassist Peter Barshay, Joe Chambers on drums and vibes, and Steve Berrios on drums and percussion) made their recording debut with Hands of Fire. There are many little surprises along the way during this Afro-Cuban set including the nearly free-form beginning to the opening "Ode to Vivian" (before it settles into a Latin groove), the way that Chambers' vibes sometimes gives the group a sound similar to Cal Tjader's, the concise percussion displays, and some excellent Latin-flavored bop. With the exception of the traditional "En Nos Otros," all of the music is comprised of group originals, mixing together older styles with newer ideas. ~ Scott Yanow
David "Fathead" Newman Tenor Saxophone, Flute | (4, 13)
John Hicks Piano | (8)
Ronnie Matthews Piano | (5)
Larry Willis Piano | (9)
Walter Booker Bass | (5, 8-9, 11)
Christian McBride Bass | (7)
Jimmy Cobb Drums | (4-5, 8-9, 13)
Lewis Nash Drums | (14)
Jesse Davis Alto Saxophone | (9, 15)
Karriem Riggins Drums | (10).
This well-rounded set not only features trumpeter Roy Hargrove with his mid-'90s quintet (tenor saxophonist Ron Blake, pianist Stephen Scott, bassist Rodney Whitaker, and drummer Gregory Hutchinson) but with two other rhythm sections and a few special guests. The first three selections (which includes the uptempo blues "Brian's Bounce") are called "Trilogy" and dedicated to various family members. Hargrove shows off his warm tone on "The Nearness of You" (a ballads with strings album was in the near future), and other highlights include the lyrical "Pas de Trois," a duet by Hargrove and bassist Walter Booker on Larry Willis' "Ethiopia," and a driving version of "Firm Roots." A meeting between Hargrove and Wynton Marsalis on the bop standard "Nostalgia" is disappointingly tame, but otherwise this is a high-quality modern hard bop release. ~ Scott Yanow
Recorded at Clinton Recording Studios, Inc., New York on January 26-29,
Steve Masakowski, 7-string electric and acoustic guitars
Bill Huntington, acoustic bass
Johnny Vidacovich, drums.
By
DAVID ADLER
Guitarist Steve Masakowski pays tribute to the late Joe Pass with this beautiful trio record. In addition to Pass’s own "For Django" and "I’ll Know," Masakowski presents "Waltz" by Rick Margitza, "Peace" by Horace Silver, the standards "Falling In Love with Love," "Poinciana," and "In Your Own Sweet Way," and five originals. Of Masakowski’s tunes, "I’ll Pass" and "Tino’s Blues" are particularly tasty.
Bassist Bill Huntington and drummer Johnny Vidacovich provide picture-perfect accompaniment for the clean, concise guitarist, who displays harmonic savvy, chops, and lyricism at every turn. Nothing revolutionary going on here, although Masakowski’s choice of a 7-string guitar, in both acoustic and electric varieties, is fairly unusual.
Nguyên Lê
Miracles
While his latest release, Homescape (ACT, 2006), is the best example of Lê's integration of technology into his musical landscape, it's a characteristic that's equally clear from the opening notes of the title track to Miracles. While the importance of interplay and interaction within the quartet is a fundamental, Lê is one of only a handful of guitarists who are able organically to incorporate programming, guitar synthesis and sequencing.
Miracles may have been a first meeting between Lê, Lande, Johnson and Erskine, but you'd never know it. The material ranges from the backbeat-driven title track to the swinging "? (Question Mark)," the temporal elasticity of "The Odd Game" and the elegantly melancholic "20 Fingers." The quartet tracks are broken up by occasional duets with Lande, ranging from completely acoustic to heavily layered electronic soundscapes. Lê's ethnic heritage and its influence on his overall musical concept would not become fully realized until Tales From Vietnam, but "Cerf Volant," a miniature featuring Lê on the zither-like danh tranh, and the equally brief "Haïku," are clear harbingers of things to come.
Listening to Lande's work on Miracles, it's unfathomable that he's never achieved more widespread fame. He sticks to acoustic piano on these sessions, but his ability to work comfortably in Lê's more expansive aural framework makes him the perfect choice, though not a surprising one when one considers the stylistic diversity he demonstrated on ECM recordings including Red Lanta (1974), Rubisa Patrol (1976) and Skylight (1982).
There is, in fact, a certain vibe to Miracles that's not out-of-context with the German label's aesthetic. Stylistically broad, sonically diverse and, despite Lê's programming and use of processing, natural and filled with room to breathe, ECM is clearly one component of Lê's musical makeup. With Johnson and Erskine on board, it's hard to miss another reference point for Lê—Bass Desires (ECM, 1986)—especially on tracks like the episodic and multifaceted "Miss One."
Lê's distinctly Fender-ish tone means there's a certain twang evident, even when he adopts a warm and clean tone as he does during the first half of the brooding "Eyeland." But Lê is also capable of an edgier, fusion-like sound. Following Lande's focused and more clearly jazz-centric solo on "? (Question Mark)," Lê takes a rockier stance with a densely overdriven tone that's equal parts space, sustain, bebop language and swooping whammy-bar bends.
That Lê had already assimilated a range of influences—from Allan Holdsworth and Terje Rypdal to Pat Metheny and John Abercrombie—into a recognizable voice so early in his career makes Miracles an album that may have been a beginning, but was hardly a humble one.
Saxophone [Tenor],Clarinet - Stan Robinson (tracks:01,02)
Talking Drum, Maracas - Guy Warren (tracks:01,03).
Recorded: London, March 20 & April 16, 1969. Columbia Lansdowne Series release.
By
CHRIS MAY,
Don Rendell/Ian Carr Quintet
Change Is
After being out of catalogue for many years, over twenty of the finest '60s/'70s albums by British jazz masters Don Rendell and Ian Carr are now available again. The duo are key collaborators on the crucially important Integration and Greek Variations albums reissued by Universal/Impressed, while the wonderfully eclectic web-based reissue label BGO has released five of the Rendell/Carr Quintet's albums and all of Carr's albums with Nucleus. There's a rare feast of Prime Cut Grade A Meat (sorry, they showed The Wedding Singer on British TV again last night) out there right now.
Change Is is the latest in BGO's Rendell/Carr Quintet strand. Recorded in '69, it is the last album recorded by the Quintet before the two leaders went their mostly separate ways, Carr to form Nucleus and Rendell to lead his own, less feted but equally exciting, two saxophones/pianoless Quartet. It showcases all the adventurous and idiosyncratic composing and performing qualities that made the Quintet one of the most distinctive post-hard bop groups of the '60s, and also signposts some of the new directions Carr would take with Nucleus.
The opening "Elastic Dream" introduces several of the ideas Carr would develop with Nucleus: an imaginatively constructed, serpentine theme, performed by an expanded line-up featuring two basses, and linked to the following track by a free-improvised passage; the only important Nucleus ingredient it lacks is guitarist Chris Spedding. It's a brilliant piece, full of fresh instrumental textures and quirky solos and almost orchestral in its arrangement.
Intimations of Nucleus aside, one of the other big excitements of Change Is is the debut recorded appearance of tenor saxophonist/clarinetist Stan Robinson—soon to be a founder member, with drummer Trevor Tomkins, of the Rendell Quartet—who guests on two tracks. Robinson, who stands thrillingly shoulder to shoulder with Rendell in the section work, gives a truly bad ass, booting tenor solo on Mike Pyne's funked up "One Green Eye."
Other highlights include Michael Garrick's raga based "Cold Mountain," building up from a slow burn start into a wild dervish dance foregrounding Rendell's skirling, snake charmer soprano and Garrick's hammered, rapid fire chord clusters, the icing on the cake being the pleasingly bizarre traces of Kurt Weill in the theme statements; Garrick's use of harpsichord on the Horace Silverish "Boy, Dog And Carrot;" and on the closing "Mirage," Rendell's and Carr's muscular, in a Kind Of Blue groove solos, among both men's most memorable.
Given its position in the end-of-one-era/start-of-another development of Rendell's and Carr's music, Change Is is a remarkably cohesive work, wholly enduring and richly enjoyable, and it's a joy to have it back.
Note for further investigation : Despite very clearly growing out of the American jazz tradition—and despite also a sustained enthusiasm for Balkan, Indian, African and Middle Eastern musics—there is something unmistakably but somehow indefinably British about Rendell's and Carr's music. It's nothing as obvious as, say, the use of English folk songs, Welsh harps or Northumbrian pipes, it's a lot more "other" than that, more to do with emotional atmosphere and maybe the approach to collective music making, and would probably require a few thousand words to nail down satisfactorily. But someone ought to try.
By
WALTER KOLOSKY,
Mahavishnu Orchestra: Visions of the Emerald Beyond
Visions of the Emerald Beyond is the most-overlooked and under-appreciated recording John McLaughlin has ever made. This album, released in 1975, features an expanded Mahavishnu line-up that went beyond a horn and string section to include the dynamic Narada Michael Walden on drums and fusion superstar Jean Luc Ponty on violin.
This album is drenched in a new sort of funkiness that McLaughlin had not explored in previous Mahavishnu recordings.
"Eternity's Breath" opens the album, and right away you know you are in for a sonic treat. McLaughlin's notes are fat and strong. Walden's drumming is powerful and propulsive. Ponty's violin literally soars to heights he has never attained on his own recordings. The strings and horns do not have that superfluous quality found in many other "third-stream" efforts. They are relevant to the musical event. Vocals even pop up now and then, and although they can be somewhat "holier than thou", they too add to the orchestral milieu of Visions.
Many listeners wanting to hear a clone of the original Mahavishnu Orchestra never accepted this band. That is too bad, because MO2 had a lot to say. The band has a full and engaging sound, plus the balls to present it in a grandiose fashion.
Michael Walden's "Cosmic Strut' opened up side two of this album on the original vinyl release. Talk about FUNK! This tune envelops you in it. Walden, who has gone onto to become a superstar producer, was a great fusion writer.
"Lila's Dance" is another gem. When Branford Marsalis served as the musical director of America's Jay Leno Tonight Show, his band, also featuring the fine jazz guitarist Kevin Eubanks, would regularly perform the tune, along with "Meeting of the Spirits." Even two decades years later these tunes were too much for the establishment to take. Management told Marsalis to stop playing this type of music. That attitude, along with some other issues, convinced Branford that he no longer had a job. Eubanks has the gig now, and although he's a huge McLaughlin fan, he doesn't play any of these tunes. He wants to keep his job. That's how dangerous this music can still be.
This review is a brief track-by-track survey of Mahavishnu Orchestra's BIRDS OF FIRE ('73). The title track, which commences the album, opens with cymbal, electric twelve string guitar, and synthesizer; then the bass and violin enter, playing the same ostinato. The machinegun speed 12(?) note guitar-violin duet that follows is the shrieking bird, and though 'blistering' is an over-used word, the first of two guitar solos IS blistering, nonharmonic guitar and synthesizer tones added. The shrieking bird duet is repeated several times, but it is the ending that makes the track: 'lava' sonority synthesizer with the appropriate non-harmonic guitar tones. The piece is backed by Billy Cobham's double-bass percussion. "Miles Beyond" (composed by Miles Davis) enters with a synthesizer pedal that continues throughout. The guitar-violin duet is played as well as Miles would have played it on trumpet. There is a quiet interregnum of plucked violin, the synthesizer drone being an ideal backdrop. However, the highlight is a guitar solo screaming perhaps more than those on "Birds Of Fire". Downbeat magazine likened the runs of "Celestial Terrestrial Commuters" to "solar flares" with the most difficult time signature on the album, and the disc's best guitar-violin duet. But best of all is the ascending machine-gun conclusion. "Sapphire Bullets Of Pure Love" is a half minute of 'psychedelic' synthesizer, backed by seemingly random guitar and violin sound effects. Acoustic guitar, piano and bass perform "Thousand Island Park' a 3+ minute synopsis of classical, Romantic and Modern 'classical'. "Hope" is well electronically phased; very distorted Rock guitar chords ascending in easy patterns, yet only a McLaughlin could utilize such a variety of textures. The violin, keyboard- et. al.- do well, but McLaughlin steals the show with the best of both worlds: visceral Rock in sophisticated textures. "One Word" is played not by five musicians, but by one word— Mahavishnu, a colonial jazz organism. The slow, haunting guitar-violin duet melody of "Sanctuary" is the most poignant passage on the album, Jan Hammer's synthesizer screaming a bird song; yet Cobham coulded do much with the plodding meter. "Open Country Joy' has a bustling middle (of 3) segment, an aural impression of city life, with a brief ascending machine-gun guitar solo, as potent as the solos of the title track and "Miles Beyond". Yet the opening & concluding segments are too pastoral, almost Muzak. "Resolution", the disc's coda is a charmingly simple slow, sustained, ascending guitar and violin duet, with the sonority of "sanctuary"— yet perhaps even more haunting. The resolution is the keyboard and drum roll fadeout. Get the reissued CD; it is not merely jazzrock— it is the locus classicus of jazzROCK. Five Stars.
01.Trilogy: Sunlit Path/La Mere de la Mer/Tomorrow's Story Not the Same
02.Sister Andrea
03.Dream.
John McLaughlin - guitar
Jan Hammer - keyboards
Billy Cobham - drums
Rick Laird - bass
Jerry Goodman - violin.
By
WALTER KOLOSKY,
Mahavishnu Orchestra: Between Nothingness and Eternity
Between Nothingness and Eternity was released in 1973 and proved to be the swansong of the first edition of The Mahavishnu Orchestra. While the band had produced two truly great studio albums previously, BNE was intended to showcase its legendary live performance. Disappointingly, this recording does not fully capture that experience. Despite that failing, the album remains a powerhouse of a recording and is a fitting testament to the driving force that was the original Mahavishnu Orchestra.
BNE was recorded live in NYC’s Central Park in 1973. (The stage was set up in an outdoor hockey rink, and tickets for the event cost a whopping two dollars!) The members of the Orchestra were not getting along at this time. In fact, parts of the studio version of this album, along with new tunes from Jerry Goodman and Rick Laird, were already in the can. However, due to creative differences, the album was never finished. In 2000, some 26 years after the fact, Columbia finally released this incomplete album as The Lost Trident Sessions.
“Dream,” a long extended piece, is often cited as one of the best all-time Mahavishnu explorations. Extensive unison playing and a guitar-drum duel that very well may be the most exciting ever-put on record highlight this tune. McLaughlin and Billy Cobham may not have been getting along off stage, but they were damn telepathic on it. Over the course of 25 minutes, “Dream” sounds lush and ferocious. At several points during this performance, you will feel the hairs on the back of your neck stiffen. “Dream” is all about tension and release.
“Trilogy” emphasizes the amazing interplay of the band. Much of this interaction runs through Jan Hammer, who was featuring his Moog synthesizer. Conversely, this is also the main weakness of the album. The problem is not contained in Hammer’s performance. He was in top form. But for some reason, the recording does not capture his sound in an entirely pleasing way. One can only guess that the recording equipment or the sound equipment on stage was not up to the task. Simply put, there are passages in which Hammer can barely be heard! This is a very serious problem during the call and response sections. In fact, the overall sound quality of the album is not very good. We must remember that the Mahavishnu Orchestra played VERY LOUD and perhaps the technology at the time just couldn’t handle it. Some fans may actually enjoy the fact that the M.O. seemed to overpower it equipment; this is especially true of McLaughlin’s wailing and distorted guitar that over-modulates from time to time. It was as if no man made equipment could contain the energy produced by this band!
All in all, despite the obvious sound issues, BNE is a fine production. This album and The Lost Trident Sessions are a must-have in order to appreciate how the group fleshed out their compositions in concert.
By
WALTER KOLOSKY:
Wow! This 1974 recording had a great pedigree. First, you had Beatles producer George Martin. Then Michael Tilson Thomas, the young and gifted classical conductor, waving his magic wand in front of the London Symphony Orchestra. Jazz violin superstar Jean Luc Ponty stepped up as part of a newly expanded Mahavishnu Orchestra, and the teenage bass phenom Ralphe Armstrong more than capably held down the bottom end. Gayle Moran, Chick Corea's girlfriend, handled the keyboards and vocals, and Narada Michael Walden played drums. Last, of course, the guitar master Mahavishnu John McLaughlin, leading an Orchestra that was augmented by an impressive string section of its own. Producer Martin has stated in interviews that he considers this album to be one of the greatest he's ever produced. And that's saying a lot considering the landmark albums he produced for the Fab Four.
McLaughlin's compositional skills stand out on Apocalypse. Jean Luc Ponty made his debut with the Mahavishnu Orchestra on this album, and added energy to McLaughlin's inspired tunes. In a precious moment on "Hymn to Him," McLaughlin and Ponty achieve hyper stellar overdrive.
The true sleeper on this album is the opening "Power of Love." McLaughlin wields his acoustic guitar to front the LSO on this piece, a deliberate and uplifting tune. The remainder of the album features a highly charged McLaughlin. His electric playing is reminiscent of a finely tuned car engine: it purrs as smooth as a kitten, but can accelerate or stop abruptly when necessary. Ponty, McLaughlin's original choice for the first Mahavishnu Orchestra, really excels on Apocalypse. Years later he would say he probably left this band too soon. One only has to hear his musical interaction with McLaughlin to quickly agree.
The album does have one low moment, the misinformed "Smile of the Beyond". Despite some great playing on this tune, you have to suffer through a lengthy build-up which includes a vocal section. Moran's vocals are very nice, but because they are part of an overlong introduction, they are lost a bit. If McLaughlin had shortened the tune by three minutes, it would be a classic!
The London Symphony Orchestra deserves recognition as well. Yes, I know these guys would play just about anything for a paycheck. There was even some complaining about a few arrogant string players. But they did take advantage of these compositions and the orchestral arrangements, in which McLaughlin was greatly aided by Michael Gibbs. Many times on recordings like this—by Emerson, Lake and Palmer for example—the orchestra seems to be there for the effect only. In this case, the LSO had some really interesting things to say.
To perform this music live with a symphony orchestra was a nightmare. McLaughlin occasionally speaks upon the impossible technical requirements of the day, and in particular an unpleasant but eventually rewarding last minute experience with America's Buffalo Symphony Orchestra.
Guitarist Steve Howe keeps himself busier than ever in middle age with both recording and touring. In addition to his main job in Yes, he works occasionally with Asia and regularly releases solo albums. 2001's Natural Timbre is his first entirely acoustic studio project, and it's a rewarding blend of styles and influences. Over the course of 18 songs, Howe plays a variety of guitars, mandolins, basses, and other stringed instruments, and is joined on some tracks by violinist Anna Palm, multi-instrumentalist Andrew Jackman, or his son, drummer Dylan Howe. The progressive rock foundation of Natural Timbre is obvious, but new age, country, blues, jazz, and classical angles abound too. "Distant Seas" is a swaying, jazzy song for which Howe utilizes a Japanese koto in addition to guitars. A country-ish, Renaissance flavor is displayed on the perky "Provence." Distinctive, multiple guitar parts highlight the impressive "Family Tree." "Dream River" is a self-duet with Howe playing two main smooth, fingerpicked jazz guitar melodies. "Up Above Somewhere" is a soft solo acoustic guitar piece. A tight melody and a tense rhythmic feel propel "Lost for Words." "Winter" is the second movement of this portion of Vivaldi's "Four Seasons"; Howe arranged it for 12-string acoustic guitar and mandolin. Natural Timbre ends with three Yes songs, the best of which is an excellent reinterpretation of "Your Move" (part of "I've Seen All Good People" from The Yes Album); the other two are "Disillusion" (a segment of "Starship Trooper," also from The Yes Album) and "To Be Over" from Relayer. Guitar fanatics will love the liner notes, which include Howe's comments about each song and a detailed chart pinpointing the instruments he played on each one. ~ Bret Adams, All Music Guide
Review
by John Bush
The Collected Hilton Ruiz features with few exceptions the best of the pianist's excellent period with Jive/BMG, including four albums recorded between 1988 and 1991. The music is vibrant, unrestrained Latin jazz with plenty of solid originals by Ruiz and great Latin spins on Lee Morgan's "The Sidewinder" and John Coltrane's "A Moment's Notice." Lew Soloff's trumpet solos invigorate the first four tracks, while Don Cherry guests on the moody hard bop of "Scottish Blues" (taken from 1989's Doin' It Right). Though the compilers left out selections from the first -- and one of the best -- album recorded by Ruiz for the label, 1986's Something Grand, this is still a solid distillation of an essential period for Ruiz.
It would have been odd if Hilton Ruiz had never gotten around to doing a tribute to Tito Puente. Both New Yorkers, Ruiz and Puente must have rubbed shoulders on many occasions. In 1990, in fact, Ruiz became a member of Puente's Golden Latin Jazz All Stars. And on Steppin' With T.P. there are other Puente alumni as well. The project is full of rich harmony and syncopation. The material is mostly all Ruiz' and, as such, this is a tribute in feel and spirit. It's got vibes, depth, mambo, class... and pure swing a la Puente.
With Yomo Toro, Dave Valentin, Chem.
Emilio del Monte Jr: Tumbadoras, botija, bongó de madera, marimbula, petites percussions
Enrique Lazaga: güiros, petites percussions
Participation de de Yasek Manzano (flugelhorn dans 'Con-cierto tumbao') et Sory (voix solo dans 'Siempre te vas' & 'La perlas').
Cuban pianist Emilio Morales Ruiz began working with the band Opus 13 with whom he had the opportunity to travel to the United States in 1980 with the Tropicana show. The show starred the singer Omara Portuondo, who played a number with the keyboard, a recent graduate. Since then he has built Paublo renowned orchestras such as FG y su Elite, NG La Banda, Havana Ensemble, Team Cuba and then the music project Buena Vista Social Club. After 11 years of study, now serves as a soloist.
Terry Bozzio / drums, percussion, bodhran, dumbek, throaty french horn imitation and 12 notes on the piano.
Recorded and mixed by Bruce Calder between June 25 and July 16, 1993 at White Crow Audio, Burlington.
By
Michael Stack
"Polytown" is one of those projects that you sort of hope would evolve into something more-- this trio, guitarist David Torn, bassist Mick Karn, and drummer Terry Bozzio, produced such a superb record of instrumental music that you couldn't help but wish there was a followup, but this is all we got.
And its quite a statement-- the three of them play together fantastically-- not a surprise given they'd worked together extensively-- the music has an improvised feel to it, even in obviously composed passages, the music has a nice looseness and spaciousness to it-- Bozzio in particular seem really open with his playing-- whereas most "rock" drummers (although calling this music that) tend to play themselves into a wall, space is critical on this record-- check out the brilliant "Snail Hair Dune" for a good example of this-- Torn and Karn largely play single note lines while Bozzio implies as well as states.
With this looseness, the album covers a number of sounds and feels-- the playing is superb, and there's really not a bad track on here, but some stand out-- the great "Honey Sweating", with Torn's guitar blasts, the slow, funky "Bandaged by Dreams" (with one of my favorite Karn basslines), percussion driven "Warrior Horsemen of the Spirit Thundering Over Hills of Doubt to a Place of Hope" and the simply brilliant "Red Sleep" all come to mind.
Any fan of either of these three gentlemen will love this album-- its certainly amongst the best work by each of them, but I'd recommend this to anyone who enjoys improvised music and great musicianship.
Coral is an entirely new development in David Sánchez's compositional evolution. The tenor saxophonist explores Latin classical masterworks on this exquisite recording released by Sony Music/Columbia. His seventh CD for the label, and his first with a symphony orchestra, is a nine-track offering that re-interprets such composers as Brazilian masters Antonio Carlos Jobim and Heitor Villa-Lobos, as well as Argentina's foremost representative of musical nationalism Alberto Ginastera. In addition to Sánchez's highly innovative core sextet bringing its versatile jazz improvisations to these songs, the performance is further buoyed by the City of Prague Philharmonic Orchestra's accompaniment. The orchestra heightens your listening pleasures with dramatic crescendos, rhapsodic concepts, and elegant melodies on such beautiful songs as "Eu Sei Que Vou Te Amar" and the graceful "Coral," while Sánchez and company take full charge of their jazz expressions on "The Elements II." Coupled with Miguel Zenón on alto saxophone, this song takes flight at the intro and segues into a burning solo by David Sánchez. They are definitely in-the-pocket and with each note Sánchez plays, he summons a deeper, more intense jazz spirit that helps create a unique and powerful illustration of both his and the composer's technical and stylistic prowess. By contrast, his mood on the sacred "Vexilla Regis" is emotionally powerful and serene. Alberto Ginastera's 1934 orchestral suite from his ballet "Panambí" (an early work from his Objective Nationalism style) is performed here with similar rhythmic contrasts and has a deep, meditative feeling that flows back and forth in a fluid motion. Overall, David Sánchez and the music have now proven themselves elsewhere and with this brilliant, substantial musical experience, Sánchez is poised to take his place among the great jazz musicians that continue to offer important personal and musical insights to their audiences. Coral is a necessity for any jazz or classical record collection. ~ Paula Edelstein, All Music Guide.
07.The Oracle (Dedicated To Charlie Banacos) (5:07)
08.Bridge Of Life, Part II (1:52)
09.The Maze: The Beginning (1:38)
10.Cobilla (5:25)
11.The Maze: The End (1:25).
Danilo Perez: piano
Ben Street: bass
Adam Cruz: drums, steel pans
Rudresh Mahanthappa: alto saxophone
Jamey Haddad: percussion
Ernesto Diaz: congas
Sara Serpa: vocals
Matt Marvuglio: flute
Barbara Laffitte: oboe
Amparo Edo Biol: French horn
Margaret Phillips: bassoon
Jose Benito Meza Torres: clarinet.
By
JOHN BARRON,
Danilo Perez: Providencia
Inspired by the wonderment and challenge of contributing to a healthy future for his two daughters, Panamanian pianist Danilo Pérez presents an eleven-track suite of globally conscious music, fusing elements of jazz, classical and Latin American folk music. Providencia, Pérez's debut for Mack Avenue Records, is an ambitious project, incorporating his longtime trio-mates, bassist Ben Street and drummer Adam Cruz, with an eclectic cast of guest musicians. The result is a genre-defying foray into highly-structured compositions heightened by intense improvising.
A seamless melding of styles is evident on the lengthy opener "Daniela's Chronicles," a piece written for Pérez's eldest daughter that progresses through five buoyant movements. With a subdued undercurrent of rhythmic intensity, Pérez leads his band through the music with commanding control of the piano. Alto saxophonist Rudresh Mahanthappa brings a flurry of energy to "Galactic Panama," tossing solo lines back and forth with Pérez over an insatiable Latin-inspired groove, augmented by percussionists Jamey Haddad and Ernesto Diaz. Mahanthappa appears toward the end of the disc on "The Maze," a duet with Pérez in two parts. Here, the saxophonist is able to balance a harsh urgency with breathy lyricism.
Portugese-born, New York-based singer Sara Serpa, who specializes in wordless vocalizing, brings out the melodic strength in Pérez's writing. She floats effortlessly through the challenging theme of the title track. One of the more enticing tracks on the disc, Pérez takes advantage of the tune's melodic repetition to apply a countering barrage of piano showmanship. Another enduring moment from the session comes with the tender ballad "Irremediablemente Solo," composed by Panamanian composer Avelino Muñoz. The piece features the trio with bassist Street taking up the pensive melody with conviction.
As an organizer of the annual Panama Jazz Festival and the Fundación Danilo Pérez, an organization offering musical and cultural opportunities to disadvantaged youth, Pérez has become a musical ambassador for his native country. Homage to Panama is evident throughout Providencia, especially on the two-part "Bridge of Life," orchestrated for woodwind quintet and trio. The title refers to Panama's role as a land bridge between North and South America. With this disc, Pérez succeeds at creating a musical bridge between the intricate and visceral, inviting all listeners interested in forward thinking sounds.
Already legendary for his country and rock and roll guitar mastery, the late Danny Gatton also released a pure jazz CD on Blue Note, "New York Stories." If there was any doubt that this incredible musician was capable of any style, any time, any place, this CD will put those doubts to rest and we will continue to mourn and lament the passing of one of the greatest guitarists in history. His suicide was provoked according to some theories by his poor record sales, and what a shame. "New York Stories" is actually a jazz combo effort with Gatton writing all or part of the tunes and sharing his time with a stellar piano and horn section. This is a jam session, and according to the liner notes, a limited amount of rehearsal was allowed to keep the tunes fresh and to allow the improvisational juices to flow.
It's smooth - so much so you almost want to take up smoking and don a fedora while you listen. It harkens back to the smoky dangerous days of the '40's and '50's, where down and dirty jazz emanated from grimy clubs in the bad parts of town. Yet at times the music is ethereal, such as the guitar tour de force "One For Lenny" that closes the CD.
The style here is reminiscent of Miles Davis' early years, ala "Walking" and "Someday My Prince Will Come" and perhaps a little Brubeck piano and sax tradeoffs.
Even rockers will appreciate the mastery on this session. "New York Stories" goes down like a cool drink on a hot summer afternoon, welcome as a surprise snowfall in July would be.
Produced by Cameron Mizell. Recorded by Eric Heveron-Smith at Seaside Lounge Studios in Brooklyn, NY on September 17 and 18, 2009. Editing and additional recording by Cameron Mizell. Mixed by Eric Heveron-Smith and Cameron Mizell. Mastered by Kevin Reeves at Universal Mastering Studios-East. Design by Philip Manning. Photography by Lauren Farmer.
Writing this music was an exploration of influence–artistic, cultural, and geographical. The album is dedicated to the city of St. Louis, where I was born and raised, and where so many incredible musicians, artists, and writers crossed paths or called home.
Thanks to: Jill, Brad, Kenneth, Mom, Dad, Erika, Lauren, Steve, Eric, Dave, Josh, Philip, Kevin, Rob, Alan, and everyone that’s contributed their support, talent, and feedback to this project.
About Tributary
Tributary is my third full length album, and the first I feel is an honest effort to create a complete work. To me, this isn’t just a collection of songs. Each tune is a tip of the hat to one or more of the musicians that have influenced me since I began seriously studying the guitar, and music as a whole. That journey started with jazz, but took me to funk, soul, hip hop, blues, Americana, folk, rock, country, and back. I’ve recently realized most of the music I love rests on the shoulders of Muddy Waters, Robert Johnson, and Charlie Christian.
Tributary is also a nod to St. Louis, Missouri, the town where I was born and raised. The city has an incredibly rich cultural history, largely because its location on the Mississippi and Missouri rivers allowed it to become the second largest port in the US during the mid 19th Century. Major travel routes that criss-cross the country have always stopped through St. Louis, bringing many musicians, artists, and writers to and from the city–not to mention the many who are from the area, including Miles Davis, Grant Green, and Chuck Berry. St. Louis has always been a music town, closely linked with jazz, blues, and rock & roll. However, there’s no defining genre associated to the city, like Chicago blues or Memphis soul, instead the music of St. Louis is very much a melting pot of styles from everywhere else–much like a musician funneling a wide range of influences into a personal sound.
I wrote the music for Tributary gradually during a two year period, introducing the tunes to Brad and Kenneth one at a time over the course of many gigs. The three of us broke them in and exposed the weak spots, giving me a chance to adjust the arrangements until they felt natural. The long incubation period also granted me time to realize my larger vision of composing tunes that fit together, borrow from each other, and hopefully paint a bigger picture for the listener.
Part of the bigger picture, for me at least, was to incorporate some of the sounds, textures, and people I’ve worked with in my other musical outlets. After two days of tracking the trio, I brought the tracks home and added some additional instrumentation. I also enlisted the help of two very talented singers to add some background vocals. Erika Lloyd, who Brad, Kenneth and I all play with in the band Little Grey Girlfriend, and Lauren Zettler, a singer/songwriter who I’ve been writing, recording, and touring with since ’08, contributed layered vocals on one track each. The sum of these parts has made Tributary truly representative of the last several years of my overall creative output.
About Bernhard Lackner
Nashville based Austrian electric Bassist Bernhard worked with artists including Mino Cinelu, Adam Holzman, Marco Minnemann, Horacio El Negro Hernandez, Adam Nitti, Trip Wamsley, Florian Bramböck, Steve Cunningham, Christian Wegscheider, Franz Hackl, Jeff Coffin, Derico Watson, Chester Thompson, performed for Red Bull at their Hangar 7 in Salzburg(Austria), at the Eurobassday(Italy), at the Outreach Jazzfestival(Austria), at the Noibassisti Bassfestival(Italy), at the BassUp! Event Atlanta(USA), at the NammBassBash(USA), at the National Guitar Workshop(USA), at Pasadena Bassday(USA), at the Groznjan Drumcamp(Croatia).. Bernhard also works as a clinician for "La Bella Strings", "Aguilar Amps", "Hemage Bass" and "Vovox Cables" and released 2 Albums under his own name.
The trio of bassist Alain Caron, guitarist Jean Marie Ecay, and violinist Didier Lockwood touches on several styles in this diverse CD. Caron's opener "Gypsy" sounds like an acoustic throwback to the era of Django Reinhardt and Stéphane Grappelli, though the CD makes a hard turn into jazz fusion with Lockwood's easygoing ballad that sounds much like what Jean-Luc Ponty was doing in the mid-'70s. Then Caron's funky "Jimmy B-3" takes them elsewhere, in a sassy tribute to organist Jimmy Smith. Ecay's lyrical "Take a Waltz" and the delicate"Gris Jour" are also highlights. Only "Amusette" is a bit of a disappointment, as the piece develops slowly, with lots of bland synthesizer behind it. ~ Ken Dryden, All Music Guide.
Roy Hargrove: leader, composer, arranger, trumpet, fluegelhorn, vocal
Frank Greene: trumpet and flugelhorn
Greg Gisbert, : trumpet and flugelhorn
Darren Barrett: trumpet and flugelhorn
Ambrose Akinmisure: trumpet and flugelhorn
Jason Jackson: trombone
Vincent Chandler: trombone
Saunders Sermons: trombone
Max Siegel: bass trombone, arranger
Bruce Williams: alto saxophone, flute; Justin Robinson: alto saxophone,flute
Norbert Stachel: tenor saxophone, flute
Keith Loftis: tenor saxophone, flute
Jason Marshall: baritone saxophone, flute, reeds
Gerald Clayton: piano, arranger
Saul Rubin: guitar
Danton Boller: bass
Montez Coleman: drums
Roberta Gambarini: vocals.
By
ROBERT J. ROBBINS,
Roy Hargrove: Emergence
As a trumpeter, composer, and an arranger, Roy Hargrove has been a mainstay of the contemporary music scene in a variety of formats for nearly two decades. Nevertheless, his big band experience has been limited mostly to his appearances with the Dizzy Gillespie All-Star Big Band, with which he has most ably proved himself an heir to the late trumpet legend's mantle. Hargrove has been steadily accumulating big band experience in his own right since 1995, however, and Emergence is therefore most aptly titled, for it represents Hargrove's full-fledged emergence into the large ensemble idiom.
While the tone poem "Requiem," by composer and trombonist Frank Lacy, was probably intended as the CD's tour de force, it's a major disappointment. After a most promising brass fanfare, with an arpeggiated woodwind countermelody reminiscent of Ravel's "Daphnis et Chloe," "Requiem" lapses into an eight-minute ostinato vamp under self-indulgent alto and trombone solos, accompanied only by the rhythm section. Eight minutes is an unusually long time for the full band to lay out, and Hargrove's own contribution is limited to a few brief exchanges with the trumpet section. The saving grace is the recapitulation of the opening tutti.
On the other hand, the remainder of Emergence exhibits Hargrove in full flight as captain of his 19-piece ensemble. Arrangements have been furnished by baritone saxophonist Jason Marshall (the hard-bopping "Ms. Garvey, Ms. Garvey"), bass trombonist Max Siegel (a Kentonesque interpretation of the Rodgers and Hart classic "My Funny Valentine"), the iconic Cuban pianist Jesuss "Chucho" Valdes ("Mambo for Roy"), and Hargrove himself.
"September In the Rain," which features Hargrove on both Harmon-muted trumpet and a mellow vocal, appears to have been arranged in a Basie-inspired vein by pianist Gerald Clayton. Clayton, in fact, is the son of composer, arranger, bassist, and co-leader John Clayton of Los Angeles' Clayton/Hamilton Jazz Orchestra, a major inspiration for Hargrove's aggregation. Vocalist Roberta Gambarini, Hargrove's erstwhile colleague with both the Gillespie band and jam sessions at NYC's Jazz Gallery, adds her velvet voice to Cole Porter's "Every Time We Say Goodbye" and the Spanish-language "La Puerta." On the latter track, she is reminiscent of Linda Ronstadt on her early-1990s Latino-jazz romp Frenesi (Elektra, 1992).
Hargrove also seems to have absorbed influences ranging from McCoy Tyner ("Tschipiso") to Gerald Wilson ("Roy Allan") and Billy Strayhorn ("Trust") in the band's full-voiced sonorities. Emergence definitely proves that Hargrove, 39 years old at the time of this recording, is ready to add his name to the list of large ensemble leaders.
The Roy Hargrove Quintet: Earfood
In the liner notes, trumpeter Roy Hargrove declares that Earfood was recorded to bring pleasure to the listener. This may seem like a superfluous statement, after all, which artist doesn't want to please the listening public? What Hargrove means, is that the aim of the game is to offer up catchy melodies with a minimum of unnecessary artistic baggage; tunes as opposed to ambience, sweet harmony in place of dissonance. There isn't a fractured rhythm within earshot, nor an obscure time signature, just unpretentious, good-time music.
Opening with pianist Cedar Walton's "I'm Not Sure," Hargrove and saxophonist Justin Robinson splice together Lee Morgan-type harmonies on the main theme, before Hargrove takes the first of several impressive solos with which he peppers the set. Robinson in turn picks up where Hargrove left off, followed by pianist Gerald Clayton and all unite on the head in classic old-school fashion. The up-tempo tunes mostly follow the same pattern.
Unapologetically, Hargrove's stated intention is to honor tradition, and the result at times is music which is overly familiar-sounding; the band do indeed sound like they know each other's moves inside out, and are comfortable with the well-trodden path of familiarity. This is not to take away from the excellent musicianship, for there is plenty to admire in this quintet, particularly from Hargrove and Robinson, it just makes for a rather slick and polished finished article.
Hargrove's voice comes from a long line of trumpeters from Dizzy Gillespie and Lee Morgan, to Miles and Marsalis and his command of the trumpet is complete; he demonstrates this control on the faster, boppish numbers, and a Wynton Marsalis-like tone on slower pieces like the lovely, self-penned "Joy is Sorrow Unmasked," an album highlight, which walks a delicate line between warm and blue.
Funking things up a tad on the late Weldon Irvine Jr's '70s classic "Mr. Clean," first Hargrove and then Robinson take fiery solos which seem to inspire Gerald Clayton to his most dynamic playing on the keys, while bassist Danton Boller and drummer Montez Coleman mark a steady groove. The song is crying out however, for some serious unleashing of the drums to take things to another level.
The track "Divine," pairs trumpet with piano in a mellow exchange over a subtle bass and brushes accompaniment, and the sparseness of the arrangement and economy of the playing contrasts pleasingly with all the brass harmonies, and head-solo-solo-solo-head which characterizes many of the tunes. It is a fine number, which showcases Hargrove's writing abilities. The Kurt Weil/Ogden Nash tune, "Speak Low" sounds like a coda to "Divine," and would have been the perfect closer to the disc. As it is, Earfood closes out with a soulful, buoyant, live rendition of Sam Cooke's "Bring it On Home To Me" which takes off from the first bar; Hargrove blows briefly in lively manner, and you'd expect some serious closing remarks from all, but alas, the tune parks itself just a little too soon.
Frank Figueroa,Jose Alexis Diaz (background vocals).
For this particular Tito Puente recording, his exciting three-horn, three-percussion Latin jazz octet (which includes longtime saxophone soloist Mario Rivera) is joined by alto great Phil Woods on three of the eight selections, including Thelonious Monk's "Pannonica" and "Repetition." Such songs as "Corner Pocket," "Carioca" and Dizzy Gillespie's "Con Alma" sound perfectly natural in this Afro-Cuban jazz setting, and Puente (well featured on vibes and timbales) is responsible for two originals and seven of the nine arrangements. The music is danceable, adventurous and quite fun. ~ Scott Yanow
Recorded at Coast Recorders, San Francisco, California in January 1988. Includes liner notes by Hugh Wyatt.
02.Stumbling Henry's Divorce March (Volker Kriegel) 7:16
03.Sicilian Steal (Barbara Thompson) 6:54
04.Pale Smile (Eberhard Weber) 4:00
05.Albert's Song (Albert Mangelsdorff) 0:10
06.Yin (Wolfgang Dauner) 5:38
07.To An Elfin Princess (Charlie Mariano) 5:38
08.Wart G'schwind (Albert Mangelsdorff) 9:05.
Ian Carr – trumpet
Ack van Rooyen – trumpet, flugelhorn
Charlie Mariano – soprano & alto saxophones
Barbara Thompson – soprano & tenor saxophones
Albert Mangelsdorff – trombone
Wolfgang Dauner – piano, synthesizer
Volker Kriegel – guitar
Eberhard Weber – bass
Jon Hiseman – drums.
Recorded January 13-16, 1978 by Gibbs Platen at Tonstudio Zuckerfabrik, Stuttgart, Germany.
Featuring some of the finest avant-garde jazz players from Germany and beyond, the United Jazz + Rock Ensemble began life as a loose studio aggregation assembled for a youth-oriented German television show in 1975. Hoping for a contemporary balance between rock and jazz, producer Werner Schretzmeier called upon pianist Wolfgang Dauner, the former leader of Et Cetera, an avant-garde jazz group Schretzmeier had managed until their breakup in 1972. Initially recruiting musicians from his home base of Stuttgart (then a hotbed of avant-garde jazz), Dauner put together a rotating cast of musicians that were at first dubbed the Eleven and a Half Ensemble (after the program's airtime); this group featured guitarist Volker Kriegel (who shared writing and arranging duties with Dauner), drummer Jon Hiseman, trumpeter Ack Van Rooyen, and trombonist Albert Mangelsdorff. As demand for recordings and public performances grew, Dauner solidified the lineup with saxophonist Charlie Mariano, saxophonist/flutist Barbara Thompson, trumpeter Ian Carr, and bassist Eberhard Weber. This nine-piece aggregation recorded the first album under the United Jazz + Rock Ensemble name, Live im Schutzenhaus, in 1977; released on the group's own Mood Records label, the album was a hit, eventually becoming the best-selling German jazz record of all time.
The Ensemble recorded and toured fairly regularly after the success of Live im Schutzenhaus; 1978's Teamwork and 1979's The Break Even Point placed the group in a studio setting, with the latter featuring trumpeter Kenny Wheeler. 1981's double-LP Live in Berlin was another success, and was followed by United Live Opus Sechs in 1984, with Wheeler back in tow. On 1987's studio album Round Seven, trumpeter Johannes Faber filled in for Wheeler; Wheeler returned once again for the 1992 studio set Na Endlich!, which also featured new bassist Dave King. Mariano was subsequently replaced by tenor saxophonist Christof Lauer, who made his recorded debut on the 1996 concert album Die Neunte von United. In 2002, after well over two decades together, the group announced that it was embarking on a farewell tour, after which its members would move on to other projects (possibly collaborative).
By Steve Huey. AMG.
