Monday 31 August 2009

John Abercrombie - M (1980)

1.Boat Song (9:52)
2.M (6:17)
3.What Are The Rules? (7:28)
4.Flashback (6:13)
5.To Be (5:14)
6.Veils (5:42)
7.Pebbles (4:42).

George Mraz - Bass
Peter Donald - Drums
John Abercrombie - Guitar, Main Performer
Richie Beirach - Piano.

If only all of this set were as brilliantly melodic and driving as its best three tracks. As is it is, this is a mixed bag of tuneful, high-energy post-bop and more introspective music. Abercrombie is on form, with all of his techniques applied with artistry and imagination. In the course of a single tune or even a single chorus he will weave together moaning swoops of sound, delicate volume swells, and Pat Martino-like, rapid fire, single note runs. He plays a fair bit of acoustic guitar on the date, but the main attraction is his unique command of the electric instrument. In pianist Richard Beirach, bassist George Mraz, and drummer Peter Donald, Abercrombie has a trio of master players for partners. Performing almost as a straight-ahead acoustic unit, they contrast effectively with the leader's sometimes otherworldly sounds. Beirach and Mraz also share the writing credits with Abercrombie. The opening track, the artist's "Boat Song," begins with the guitarist's combination of ethereal bell tones and gong-like hammering on before shifting into a strong, swinging quartet performance. The title track follows in a similar upbeat vein -- great melody, good group energy, and fine solos all round. Beirach's "Flashback" also kicks into gear after a clunky start. The balance of the tracks, though, are moodier, inward looking, and cerebral, making them almost jarringly at odds with the hot pace set on the LP's opening tracks. ~ Jim Todd, All Music Guide.

Dennis Chambers, Tony Mcalpine, Bunny Brunel - Cab (2000)

01.Night Splash
03.So There Is Love
04.Just Perfect
05.One for Stern
06.The Watcher
08.Boogie Me
09.Elastic Man

Bunny Brunel - Bass, Engineer, Keyboards
Dennis Chambers - Drums
Tony MacAlpine - Guitar, Keyboards.

This hard-driving fusion power trio packs a mighty punch on CAB, its inaugural release. On this outing, guitarist Tony MacAlpine renders his customary rippling sheets of sound along with electric bassist Bunny Brunel's sinewy lines and drummer Dennis Chambers' heavy-handed polyrhythms. There are no hidden agendas here as the soloists surge into the stratosphere with ominous intentions via blazingly fast unison choruses and Chambers' propulsive backbeats and hybrid funk-rock rhythms. The trio also engages in a few call-and-response type episodes in concert with intermittent doses of fiercely stated jazz-based passages. However, MacAlpine steers the charge with blistering lead soloing to complement his effective utilization of electronic keyboards. Essentially, the band abides by a democratic approach, where everyone gets ample breathing room amid a series of nicely arranged compositions and turbocharged improvisational sequences. Overall, this impressive 2000 effort provides the world of fusion with a much-needed shot of adrenaline. ~ Glenn Astarita, All Music Guide.
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Thursday 27 August 2009

Brecker Brothers - Blue Montreux - Live at Montreux 1978

1.Blue Montreux
3.I'm Sorry
4.A Funky Waltz
6.Uptown Ed
7.Cloud Motion
8.Love Play.

At the 1978 Montreux Jazz Festival, a variety of artists (including keyboardist Warren Bernhardt, tenor-saxophonist Michael Brecker, guitarists Steve Khan and Larry Coryell, trumpeter Randy Brecker and vibraphonist Mike Mainieri) recorded a dozen funky selections which were originally released on two Arista LPs. This single CD has the eight top performances from these important fusion stylists; Michael Brecker in particular is in good form. The results are not essential but offer listeners a time capsule of where R&B-oriented fusion was in 1978.
Scott Yanow, All Music Guide

Crossfire - Direct To Disc (1990)

1.It Coitanly Was 5:03
2.On the Wings Of Albatrocity 4:37
3.Fahannokookin’ 6:03
4.Oddball 6:44
5.Satie-ated 8:15.

Mick Kenny-Wurlitzer piano,fluegelhorn
Doug Gallagher-drums
Ian Bloxsom-percussion
Don Reid-saxophones,flute
Greg Lyon-bass
Jim Kelly-guitars.

This jazz rock group was formed in 1974 and based in Sydney, Australia. The band comprised Jim Kelly (guitar), Greg Lyon (bass), Ian Bloxsom (percussion), Michael Kenny (piano), Steve Hopes (drums) and Tony Buchanan (saxophone). Crossfire were of a high enough standard of musicianship to gather worldwide recognition, the band served a long apprenticeship in jazz venues, often as the backing band for other artists, with the various members still concentrating on session work. Early on the band showed a lot of blues influence in their playing probably due to members having played in R&B and soul bands previously. By the late 70s the band was touring widely overseas, spending time in Asia, Europe and America, having played such prestigious gigs as the Newport Jazz Festival and Ronnie Scott's in London, as well as recording modest-selling albums at home. The band backed many jazz soloists on their visits to Australia, including Michael Franks, which resulted in the release of a live album. Lead guitarist Jim Kelly went on to release several CDs as a leader and record with D'Volv, in addition to working as Head of Guitar Studies at Southern Cross University in Lismore.
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Saturday 22 August 2009

Paquito D'Rivera - Night In Englewood (1994)

1.Snow Samba
2.Alma Llanera
3.I Remember Diz
4.Blues For Astor
5.Modo Cubano
6.La Puerta
8.Milonga Para Paquito
9.To Brenda With Love.

Paquito D'Rivera & The United Nations Orchestra:
Romero Lubambo (guitar, acoustic guitar)
Mario Rivera (flute, tenor saxophone)
Paquito D'Rivera (clarinet,alto saxophone)
Marshall McDonald (soprano saxophone, alto saxophone)
Steve Sacks, Andres Boiarsky (tenor saxophone)
Diego Urcola, Mike Ponella (trumpet,flugelhorn)
Byron Stripling (trumpet)
Conrad Herwig (trombone)
William Cepeda (tenor trombone, bass trombone)
Carlos Franzetti, Mike Orta (piano)
Oscar Stagnaro (bass guitar)
Horacio "El Negro" Hernandez, Adam Cruz(drums)
Bobby Sanabria (percussion).

Review by Scott Yanow
After Dizzy Gillespie's death in 1991, his colorful Afro-Cuban United Nation Orchestra (which was formed in 1988) was headed by altoist-clarinetist Paquito D'Rivera. With the better-known sidemen on this 1993 CD including first trumpeter Byron Stripling, trombonist Conrad Herwig and tenor saxophonist Mario Rivera, additional solo space was allocated to some of the other talented players as were guest spots for trumpeter Claudio Roditi, trombonist Slide Hampton and vibraphonist Dave Samuels. A Night in Englewood is an easily recommended set. The music is very Latin-oriented and shows that the orchestra had moved away from Gillespie's usual repertoire to exclusively feature originals by bandmembers (including D'Rivera's "I Remember Diz"). Definitely worth investigating.

Dewey Redman & Joshua Redman - Choices (1992)


Dewey Redman (musette, alto saxophone, tenor saxophone)
Joshua Redman (tenor saxophone)
Cameron Brown (upright bass)
Leon Parker (drums).

Review by Thom Jurek
This is a curious set for saxophonist Dewey Redman, featuring a killer band that includes bassist Cameron Brown, drummer Leon Parker, and the first appearance of his son, Joshua, on tenor in duet on a couple of tracks. Redman himself is in fine form, playing with all of the deep, steamy lyricism he showcased so brilliantly with Ornette Coleman and in Old and New Dreams, but there is something else too, as evidenced by the track selection, and that is a new reverence for the tradition. Redman was always a melodic player, even in his most fiery avant encounters, but his love for jazz tradition, particularly its formalist considerations, was never really apparent until now. Here Redman selects the nugget "Everything Happens to Me" as the place to showcase his reverential balladic style. Over the course of ten minutes, he allows the hidden blues in the tune to come out and haunt him as he explores each nuance with minimal accompaniment. Also, the Van Heusen nugget "Imagination" is read here with such eloquence, grace, and heartbreaking sensitivity that it's almost a blues. The melodic invention Redman displays here makes this version a contender for being the definitive one. The Eastern edge is here in "O'Besso," with Joshua playing tenor and Dewey playing musette. It begins as a modal Eastern theme onto which the changes are gradually built. The melody seeps out, almost unexpectedly, and becomes a flower of interwoven harmonic figures traded between father and son. There's also plenty of the traditional Redman fire in place too, such as on "Le Clit," the original that was supposed to be recorded for the 1980/1981 sessions he did with Pat Metheny. Whether it was or not is anybody's guess, but it has never surfaced if it was. Here Dewey and Joshua, on alto and tenor, respectively, trade eights in the bridge between their solos and come to grips with a monster of their own creation -- deeply lyric, yes, but also fathomlessly dark and brooding. Finally, Redman's "For Mo" features both men on tenor and it's more of a dovetailing ride than a battle, which is as it should be. The singing goes deep here and Parker and Brown push the pair into corners of rhythmic invention that demand resolution. This is a wonderful and unexpected surprise from Dewey and a welcome entrance onto the scene from Joshua.

Recording information: Tom Tedesco Studio, Paramus, New Jersey (1992).

Jimmy Smith - Home Cookin' (1959) (1996 Reissue)

01.See See Rider
02.Sugar Hill
03.I Got A Woman
04.Messin' Around
06.Come On Baby
07.Motorin' Along
08.Since I Feel For You
11.Motorin' Along (Alternate Take)
12.Since I Feel For You (Alternate Take).

Drums: Donald Bailey
Guitar: Kenny Burrell
Organ: Jimmy Smith
Saxophone [Tenor]: Percy France

Smith's superb keyboard technique is only half of his musical magic. The other is his astonishing ability to paint atmospheres and create exquisite moods. The feeling of this album is perfectly evinced, relaxed and cool, spacious yet textured and sophisticated enough to keep the ear consistently intrigued. The album's title and cover photo are an homage to a soul food diner in Harlem called Kate's Home Cooking, and the tunes parallel a range of subtle, carefully prepared flavors.

Traditional slow and mid-tempo blues predominate, such as "See See Rider" and "Come On Baby," kept fresh though Percy France's Lester Young-influenced playing, Kenny Burrell's clean guitar lines and Smith's deeply soulful leads. The sly riffing on "Gracie" and the jazz thematics of "Apostrophe" are also highlights. HOME COOKIN' offers the perfect blend of style and substance, of traditional soul and modern cool (not to mention five bonus tracks unissued on the original LP) in a mix that's tasty and utterly satisfying.
Recording information: Van Gelder Studios, Englewood, NJ (07/15/1958); Van Gelder Studios, Englewood, NJ (06/16/1959).

Friday 21 August 2009

Jan Garbarek - Places (1978)

3.Going Places

Jan Garbarek Saxophone
John Taylor Piano, Organ
Bill Connors Guitar
Jack DeJohnette Drums.

A fairly sleepy ECM date, this outing matches Jan Garbarek on tenor, soprano and alto with guitarist Bill Connors, John Taylor (doubling on organ and piano) and drummer Jack DeJohnette for lengthy explorations of four of his originals. With such titles as "Reflections," "Entering" and "Passing," it is not surprising that the music has plenty of space, is introspective, and often emphasizes long tones.
Scott Yanow, All Music Guide.

Charles Mingus - East Coasting (1958)

1.Memories Of You - Take 7 (4:23)
Composed By - Razaf* , Blake*
2.East Coasting - Take 4 (5:10)
3.West Coast Ghost - Take 6 (10:23)
4.Celia - Take 5 (7:51)
5.Conversation - Take 16 (5:26)
6.Fifty-First Street Blues - Take 4 (5:46)
Bonus Tracks
7.East Coasting (Alternate Take 3) (5:26)
8.Memories Of You (Alternate Take 3) (4:40).

Bass - Charles Mingus
Composed By - Mingus* (tracks: 2 to 6)
Drums - Dannie Richmond
Other [Executive A&r Coordination] - Eddie Levine
Other [Liner Notes] - Joseph F. Laredo
Other [Original Liner Notes] - Nat Hentoff
Other [Reissue Project Coordination Assistant] - Jaclyn Levine
Other [Reissue Project Coordination] - Abbey Anna
Piano - Bill Evans
Remastered By [Compiled & Remastered] - Greg Vaughn , Rick Essig , Tom Moulton
Saxophone [Alto & Tenor] - Shafi Hadi
Trombone - Jimmy Knepper
Trumpet - Clarence Shaw
Notes: Tracks 1 to 6 originally released in 1958 as Bethlehem BCP 6019.
Recorded August 1957 in New York City.
Compiled and remastered at Frankford Wayne Mastering Labs N.Y.
Digitally remastered by Tom Moulton, Rich Essig and Greg Vaughan (Frankford Wayne Mastering Labs, New York, New York).

EAST COASTING is a Charles Mingus Jazz Workshop recording that's a departure from the volatile PITHECANTHROPUS ERECTUS that precedes it. The music is more lyrical than many of his more renowned works, perhaps due in part to the line-up of musicians on this recording, including pianist Bill Evans.
The set begins with the standard "Memories of You," which gets the Mingus treatment, and ends with "Fifty-First Street Blues," which changes in a way the blues usually don't. "Conversation" begins as a ballad and later launches into a blues featuring a fine Bill Evans solo. While EAST COASTING may not be as fervent as either the aforementioned PITHECANTHROPUS ERECTUS, or as colorful as TIJUANA MOODS, it splendidly displays Mingus' full range as a composer whose music is so fueled by emotion that even a ballad has its explosive moments.

Monday 17 August 2009

Jack DeJohnette - Audiovisualscapes (1988)

1.PM's AM
3.Master Mind
4.Slam Tango
5.The Sphinx
6.One for Eric
7.Brown Warm & Wintery

Jack DeJohnette (drums & electronic keyboards)
Lonnie Plaxico (electric & acoustic bass)
Greg Osby (alto & soprano saxophones)
Mick Goodrick (Horner electric guitar)
Gary Thomas (tenor saxophone, flute, bass clarinet).

Recorded February 1-3, 1988 at Grog Kill, Woodstock NY
Produced by Jack DeJohnette.

Horace Silver - Horace Scope (1960)

Someday, history might recognize pianist/composer Horace Silver as one of the first crossover jazz artists. Silver was definitely a commited jazz musician but he also had the gift for catchy tunes and a good solid beat, and his bands featured warmly direct, heartfelt solos. From 1960, HORACE-SCOPE has plenty of relaxed, old-school funky ambience, earnestly appealing grooves, and crackling, succinct soloing from Silver, trumpeter Blue Mitchell, and tenor saxophonist Junior Cook. Highlight: "Nica's Dream," a Silver gem that became a standard.

Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on July 8, 1960.
Horace Silver Quintet: Horace Silver (piano); Junior Cook (tenor saxophone); Blue Mitchell (trumpet); Gene Taylor (bass); Roy Brooks (drums).

2.Where You at?
3.Without You
6.Me and My Baby
7.Nica's Dream.

Jane Bunnett - Water Is Wide (1994)

This intriguing set has more than its share of variety. Jane Bunnett pays tribute to Rahsaan Roland Kirk with some speechlike flute on "Serenade to a Cuckoo," recalls Steve Lacy a bit with her soprano on two Thelonious Monk pieces ("Pannonica" and "Brake's Sake") and her originals (along with those of trumpeter Larry Cramer) range from advanced bop to fairly free improvising. Vocalists Sheila Jordan (wonderful on "You Must Believe in Spring") and Jeanne Lee have individual features and are both major parts of the ancient hymn "The Water Is Wide" while the rhythm section (pianist Don Pullen, bassist Kieran Overs and drummer Billy Hart) consistently displays flexibility and creative reactions to the directions of the lead voices. ~ Scott Yanow, All Music Guide

01.Elements of Freedom
02.Time Again
03.Real Truth
04.Serenade to a Cuckoo
05.You Must Believe in Spring
06.Influence Peddling
08.Brake's Sake
09.Burning Tear
10.Lucky Strike
11.The Water Is Wide
12.Rockin' in Rhythm.

Kieran Overs - Bass
Jane Bunnett - Flute, Sax (Soprano)
Larry Cramer - Trumpet, Producer
Jeanne Lee - Vocals, Voices
Billy Hart - Drums
Sheila Jordan - Vocals, Voices
Don Pullen - Piano.

Jim Hall - Textures (1997)

7.Circus Dance.

Jim Hall (acoustic & electric guitars)
Joe Lovano (soprano saxophone)
Scott Colley (bass)
Terry Clarke (drums)
Claudio Roditi (flugelhorn)
Ryan Kysor, Jamie Finegan (trumpet)
Alex Brofsky (French horn)
Jim Pugh, Conrad Herwig (trombone)
Marcus Rojas (tuba)
Louise Schulman (viola)
Myron Lutzke (cello)
Derek DiCenzo (steel drum)
Gordon Gottlieb (timpani, dumbek, triangle, finger cymbal)
Kenny Wolleson (wood drum, clay pot, cymbals, tambourine, goat hooves, rattle).

Claus Ogerman Featuring Michael Brecker (1988)

3.After the Fight
5.Boulevard Tristesse.

Michael Brecker (tenor saxophone)
Randy Brecker (trumpet, flugelhorn)
Alan Pasqua (keyboards)
Robben Ford, Dean Parks (guitar)
Abraham Laboriel, Eddie Gomez, Marcus Miller (bass)
Vinnie Colaiuta, Steve Gadd (drums)
Paulinho Da Costa (percussion).

Joe Diorio - 20th Century Impressions (1981)

1.Space Shuttle Shuffle
2.Ave Maria
3.Flamenco Impressions
4.The Days of Wine and Roses
5.But Beautiful
6.20th Century Impressions
7.Song For Narayani.

Joe Diorio: guitar
Jeff Berlin: bass
Vinnie Colaiuta: drums.

Tuesday 11 August 2009

Terje Rypdal, Miroslav Vitous, Jack Dejohnette (1978)

This was the first recording by this collaborative trio. Each of their three explorative musical sensibilities work sympathetically with one another. Terje Rypdal's extended and floating guitar notes fly over the propulsive and explosive drumming of Jack DeJohnette, while Miroslav Vitous dashes back and forth between the two of them on the string bass. Rypdal and Vitous each wrote two of the set's six pieces, with the remaining pair being jointly credited to all three, and clearly borne out of a certain amount of improvisation. In it's quiet beauty and ethereal bearing this music resembles that of the debut by Vitous's earlier band, Weather Report, with Rypdal here taking on the glorious soaring flights of Wayne Shorter. The moody and undulating music was produced in pristine clarity by ECM label founder Manfred Eicher and was recorded in Oslo, Norway, home of Rypdal.

Recorded at Talent Studio, Oslo, Norway in June 1978.

Terje Rypdal (guitar, guitar synthesizer,organ)
Miroslav Vitous (electric piano, acoustic bass)
Jack DeJohnette (drums).

2.Den Forste Sne

Chuck Loeb - When I'm With You (2005)

After the European and techno inspired eBop, veteran electric guitarist returns with a CD that may just be his best work yet. It’s not a mainstream jazz album, but a smooth jazz one with an organic feel that simply keeps music first and gimmicks at bay. Paying homage to some of his musical heroes, first and foremost is the late saxophonist Stan Getz, who Loeb toured with for several years. What better song than Antonio Carlos Jobim’s “The Girl From Ipanema,” which Getz played on and brought Brazilian bossa nova to the world?

Next up is Ray Charles, one of the musicians who continuously has inspired Loeb. After Charles died last year, Loeb says he felt compelled to write “Brother Ray,” a swinging jazz and blues shuffle that’ll have those toes a-movin’. And “Double Life,” which leads off the CD, is a bluesy number dedicated to another Loeb mentor, the great guitarist Jim Hall.

Loeb can craft a smooth jazz hit as well as anyone out there, and has done so again with the unforgettable “Tropical.” His mellifluous and lyrical guitar has never as good, and the funky and tropical undercurrent will have you reaching for a margarita. And on the title track, Loeb provides a nice change of pace thanks to gorgeous vocals from his wife, singer Carmen Cuesta. It’s dreamy. And then there’s “And Then Some,” which gets into some real jazz playing.

01.Double Life
04.The Girl From Ipanema
05.Brother Ray
06.Anytime, Anywhere
08.When I'm With You
09.Spanish Nights
10.And Then Some
11.Home, James
12.Bonus Track.

Chuck Loeb (guitar, keyboards)
Carmen Cuesta (vocals)
David Mann (flute, saxophone)
Barry Danielian (trumpet, flugelhorn)
Will Lee, Carl Carter (bass instrument)
Ralph MacDonald (percussion).

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Saturday 8 August 2009

Carla Bley - Musique Mecanique (1979)

Review by Scott Yanow
Carla Bley's tentet performs some of her most colorful themes on this often-humorous and generally stimulating set. "Jesus Maria and Other Spanish Strains" and the three-part "Musique Mecanique" are particularly memorable. This is the perfect setting for Bley's music, with such musicians as trumpeter Michael Mantler, Gary Windo on tenor and bass clarinet, trombonist Roswell Rudd and Bob Stewart on tuba making their presence felt.

1.440 (9:44)
2.Jesus Maria And Other Spanish Strains (11:50)
Bass - Charlie Haden
Effects [Walkie Talkie] - Eugene Chadbourne
Piano - Carla Bley
Voice [Child] - Gary Windo
3.Musique Mecanique I (9:45)
Organ [Electric Pump] - Terry Adams (2)
Piano [Toy] - Carla Bley
4.Musique Mecanique II (At Midnight) (7:02)
Vocals - Roswell Rudd
5.Musique Mecanique III (6:27).

Recorded August through November and mixed December 1978 at Grog Kill Studio, Willow, New York.

Carla Bley (organ, piano, toy piano); Michael Mantler (trumpet); Alan Braufman (alto saxophone, clarinet, flute); Gary Windo (tenor saxophone, bass clarinet); John Clark (French horn); Roswell Rudd (trombone); Bob Stewart (tuba); Terry Adams (piano); Steve Swallow (bass guitar); D. Sharpe (drums); Charlie Haden (bass); Eugene Chadborne (guitars); Karen Mantler (glockenspiel)

Louis Hayes - Una Max (1989)

Many of drummer Louis Hayes' recordings as a leader have been recorded for European-based labels, so they have not gotten the attention they deserve in his native country, the United States. His sextet for this 1989 session includes pianist Kenny Barron, brother Gerald Hayes on alto sax, trumpeter Charles Tolliver, tenor saxophonist John Stubblefield, and bassist Clint Houston, all of whom are in excellent form. Surprisingly, Houston contributed most of the originals to the date, including the exotic, swirling opener, "El Cid," the brisk samba "Geri," and the more easygoing samba "Saudade." The bassist and the leader collaborated on the hard bop vehicle "Una Max," a cooker that presumably could be a tribute to Max Roach, though there are no liner notes to give details about the background of each composition. Tolliver wrote the adventurous Latin theme "Ruthie's Heart," which showcases Hayes' capabilities very well. Barron's "Ibis" is the most lyrical original of the date, while an extended workout of the bittersweet standard "You Don't Know What Love Is" provides a breather from Latin rhythms. This rewarding date is worthy of wider recognition. ~ Ken Dryden, All Music Guide.

1.El Cid
3.You Don't Know What Love Is
5.Una Max
7.Ruthie's Heart.

Gerald Hayes - alto sax
Louis Hayes - drums
Kenny Barron - piano
Clint Houston - bass
John Stubblefield - tenor sax, soprano sax
Charles Tolliver - trumpet.

Friday 7 August 2009

Jeremy Steig - Firefly (1977)

Very different than Jeremy Steig's earlier records,but a great little session that's got a sweet soulful feel! The record features Steig's funky flute in front of some larger arrangements by David Matthews,and the style of the record is a blend of CTI electric and some of the choppier bits of earlier Steig albums, blended with some mellow soul lead vocals on three tracks by Googie Coppola, who sings in a manner that's almost like Minnie Riperton! Tracks include the funky groover "Hopscotch", plus the nice soul tracks "Firefly", "Living Inside Your Love", and "Everything Is Coming To The Light".

2.Living Inside Your Love
3.Everything Is Coming To The Light
4.Hop Scotch
5.Sweet Hour Of Prayer

Bass - Gary King
Congas - Ray Mantilla (tracks: A1 to B1, B4)
Drums - Steve Gadd (tracks: A1, A2, B2 to B4)
Flute - Jeremy Steig
Guitar - Eric Gale (tracks: A1 to B1, B4) , John Scofield (tracks: B2, B3)
Guitar [Solo] - Hiram Bullock (tracks: A1, B4)
Keyboards - Richard Tee (tracks: A1 to B1, B4)
Keyboards [Synthesizer] - Cliff Carter* (tracks: A1 to B1, B4)
Percussion - Sue Evans (tracks: A1 to B1, B4)
Producer - Creed Taylor
Trombone - Jerry Chamberlain* (tracks: A1 to B1, B4) , Sam Burtis (tracks: A1 to B1, B4) , Tom Malone (tracks: A1 to B1, B4)
Trombone [Bass] - Dave Taylor* (tracks: A1 to B1, B4)
Trumpet - Burt Collins (tracks: A1 to B1, B4) , Joe Shepley (tracks: A1 to B1, B4) , Jon Faddis (tracks: A1 to B1, B4) , Lew Soloff (tracks: A1 to B1, B4)
Vocals - Googie Coppola (tracks: A1 to B1).

Recorded at Electric Lady Studios, March & April 1977.

Jack Dejohnette New Directions - In Europe (1980)

NEW DIRECTIONS IN EUROPE was made at a 1979 concert in Switzerland. The quartet, whose last album was NEW DIRECTIONS, was made up of DeJohnette on drums and piano, Lester Bowie on trumpet, Eddie Gomez on bass, and John Abercrombie on guitar In this live setting the ensemble hits its stride in a way that its studio works don't fully flesh out.
This set is comprised of four long pieces. One is a group improvisation, "Multo Spiliagio," and the remainder are pieces written by DeJohnette. As this talented quartet of players daringly and honestly improvises, there are moments of wit, beauty, and surprise. As always, DeJohnette's drumming is a mesmerizing display of grace and power, and his piano playing is no less engaging.

Recorded live in Willisau, Switzerland in June 1979.
Personnel: Jack DeJohnette (piano, drums); Lester Bowie (trumpet); John Abercrombie (guitar, mandolin); Eddie Gomez (bass).
1.Salsa for Eddie G.
2.Where or Wayne
3.Bayou Fever
4.Multo Spiliagio.

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Thursday 6 August 2009

Charles Mingus - Mingus Plays Piano (1963)

Recorded on July 30, 1963. Originally released on Impulse! in 1963. Includes original release liner notes by Nat Hentoff.
This album is unique in Mingus' enormous catalogue. As the title indicates, the famous bassist takes to the ivories-solo-to give life to his dazzling improvisational art. At first it seems odd to hear Mingus without one of his trademark interactive and exploratory ensembles. But the sensibility that he brings to this collection of piano pieces bears all the signs of the composer's genius.
In the first piece, "Myself When I Am Real," turbulence and aching beauty merge in Mingus' spontaneous unfolding of phrases. Such standards as "Body And Soul" and "Memories Of You" are given personal, harmonically intriguing readings that blend in seamlessly with a Mingus original like "Old Portrait." In many ways, it is a treat to hear the artist working in this pared down, quieter atmosphere, as it allows one to concentrate more intently upon the range and compositional brilliance of this incomparable figure.

Digitally remastered by Erick Labson.
Solo performer: Charles Mingus (piano).

01.Myself When I Am Real
02.I Can't Get Started
03.Body and Soul
04.Roland Kirk's Message
05.Memories of You
06.She's Just Miss Popular Hybrid
07.Orange Was the Color of Her Dress, Then Silk 0Blue
08.Meditations For Moses
09.Old Portrait
10.I'm Getting Sentimental Over You
11.Compositional Theme Story: Medleys, Anthems and Folklore

Louis Hayes Quintet - Light & Lively (1994)

Louis Hayes (born May 31, 1937, in Detroit, MI) is a jazz hard bop drummer.

His father played drums and piano and his mother the piano and he refers to the early influence of hearing jazz, especially that of big bands, on the radio. His main influence was Philly Joe Jones and he was mentored by Papa Jo Jones.

Hayes led a band in Detroit as a teenager and worked with Yusef Lateef and Curtis Fuller from 1955-1956. His three most notable associations are Horace Silver's Quintet (1956-1959), the Cannonball Adderley Quintet (1959-1965), and the Oscar Peterson Trio (1965-1967). Hayes often teamed up with Sam Jones, both with Adderley and Peterson, and in freelance settings.

From the 1970s onward, he led a variety of groups including a quintet co-led by Junior Cook and Woody Shaw. Louis Hayes has appeared on many records throughout the years, and played with John Coltrane, Kenny Burrell, Freddie Hubbard, Bobby Timmons, Hank Mobley, Booker Little, Tommy Flanagan, Cecil Taylor, McCoy Tyner, Ray Brown, Joe Henderson, Gary Bartz, Tony Williams and Dexter Gordon. He also led sessions for Vee-Jay (1960), Timeless (1976), Muse (1977), Candid (1989), Steeplechase (1989-1994), and TCB (2000-2002). Today he mentors young jazz artists, and continues to perform with a variety of other musicians both old and young.

He was with McCoy Tyner's trio for over three years. Since 1989 he has led his own band, and together with Vincent Herring formed the Cannonball Legacy Band.

1.Light and Lively
2.If You Could See Me Now
4.10th Dimentionn, The - (previously unreleased)
5.For the Love of What
7.Blues For Macao.

Carlos Franzetti & Eddie Gomez - Duets (2007)

Carlos Franzetti is a multiple Grammy Award winner and Argentinean pianist, composer and arranger who has been living in the US for many years. He recorded this duet album with the famous Eddie Gomez - who is the memorable bass player from the Bill Evans trio - in May 2007 in New York. The result is an exquisite and intimate album, with a miscellaneous repertoire. There are compositions by Wayne Shorter, Dameron, Sergio Mihanovich and by Franzetti and Gómez themselves.

1.Ana Maria (W. Shorter)
2.If You Could See Me Now (Tad Dameron)
3.Pensativa (Fischer)
4.Love Letter (Eddie Gomez)
5.Flowers (Fernando Gelbard)
6.Sometime Ago (Mihanovich)
7.Arabesque (Carlos Franzetti)
8.Fantasia (Carlos Franzetti)
9.Moon And Sand.(Alec Wilder).

Alphonse Mouzon - Funky Snakefoot (1974)

Review by Jason Ankeny
Although Alphonse Mouzon is celebrated largely for his drumming skills, the brilliant Funky Snakefoot is first and foremost a showcase for his keyboard prowess. Galvanized by its thick, greasy Arp, Moog, and organ solos, the album recalls Blue Note contemporaries like Gene Harris, albeit augmented by Mouzon's monster rhythms. Add his ragged-but-right vocals to the mix and Funky Snakefoot veers closer to mainstream R&B than virtually anything else the label ever released, but there's no denying the ferocity or virtuosity of this music. Mouzon's remarkable interplay with fellow keyboardists Harry Whitaker and Leon Pendarvis boasts a harmonic complexity that belongs solely to jazz, and the sheer vitality of cuts like "You Don't Know How Much I Love You" and "Where I'm Drumming From" is undeniable.

Alphonse Mouzon (Drums, Moog bass, ARP Odyssey synthesizer, Moog Synthsizer, Organ, and Tack Piano); Randy Brecker (Trumpet); Barry Rogers (Trombone); Andy Gadsden (Tenor Sax); Harry Whitaker (Acoustic Piano, Clavinet); Leon Pendarvis (Organ, Wurlitzer Electric Piano, Acoustic Piano); Mike Mandel (Fender Rhodes Piano, ARP Odyssey synthesizer programming); Richie Resnicoff (Guitar); Mark Harowitz (Pedal Steel Guitar & Banjo); Gary King (Fender Bass); Ray Armando (Congas & Bongos); Steve Berrios (Percussion); Angel Allende (Percussion); Dave Wittman (Moog Bass and Moog Synthesizer programming).

Recorded on December 10, 11, & 12 in 1973.

01.I've Given You My Love
02.You Don't Know
03.What How Much I Love You
04.I Gotta Have You
05.My Life Is Go Blue
06.Funky Snakefoot
07.My Little Rosebud
08.A Perryanent Love
09.The Beggar
10.Oh Yes I Do
11.Tara Tara
12.Where I'm Drumming From

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