Spyro Gyra - Good To Go-Go (2007)

01.Simple Pleasures
02.Get Busy
03.Jam Up
04.Left Bank, The
05.Funkyard Dog
06.Along for the Ride
07.Island Time
08.Wassup!
09.Easy Street
10.Winter Tale, A
11.Good to Go-Go
12.Newroses.


Scott Ambush (bass)
Julio Fernandez (guitar)
Bonny B (drums)
Christian Howes (violin)
Jay Beckenstein (saxophone)
Tom Schuman (keyboards)
Marc Quiñones (congas)
Andy Narell (steel pan).
HarariVille Studios, Weehawken, NJ.

In a way, Spyro Gyra is the Steely Dan of jazz. For most of their years, The Dan was Donald Fagen, Walter Becker and an ever-changing lineup of session musicians. Spyro Gyra started in similar fashion, with saxophonist Jay Beckenstein and keyboardist Jeremy Wall fronting a band they called Tuesday Night Jams. The duo performed on Long Island on Tuesdays with a rotating cast of sidemen. Later joined by teenage keyboardist Tom Schuman, they became Spyro Gyra—a name that began as a joking reference to a type of algae: spirogyra.

Some thirty years later the group is still going strong despite numerous personnel changes. Though Wall hasn't been a member for many years, he continued to be a songwriting contributor until the Grammy- nominated Wrapped in a Dream (Heads Up, 2006). Today, Beckenstein, Schuman, guitarist Julio Fernandez and bassist Scott Ambush are joined by Bonny B (for Bonaparte) on drums, percussion and vocals. And with him aboard, the group continues its exceptional balancing act of moving forward while staying rooted in what they've been about since the 1970s: delivering an eclectic mix of straight jazz, fusion, Latin, blues, funk and even smooth.

Good to Go-Go is packed with about seventy minutes of fresh sounds and lots of energy. Steel pan artist Andy Narell joins for Bonny B's "Jam Up, a reggae track in which the drummer also sings and scats. In a first for the group, violinist Christian Howes contributes to "The Left Bank, an easygoing Beckenstein composition. Easygoing, that is, for a moment. The song picks up very quickly, highlighted by Schuman's piano solo and Beckenstein's soprano sax. The track ends with a free-spirited solo by Howes.

Fernandez penned the aptly titled "Funkyard Dog, a fast-paced song that mostly features the guitarist and Beckenstein, but the other players also make their presence felt. Ambush's "Island Time also features Narell. There's a brief moment in the song when a marimba can be heard, although former member and occasional guest Dave Samuels isn't given any credit. Beckenstein and Fernandez co-wrote the closing track, "Newroses, a play on words. This thrilling closer is a throwback to songs like "Guiltless, "Sunflurry and "Carnaval, when the group ended albums with a bang.

In an era when lots of albums, in the interest of getting more songs played on radio, are filled with songs that are about four minutes, it's refreshing to have a new release in which five tracks are longer than six minutes and only two are less than five. This gives the group plenty of room to play, allowing the soloists to stand out without smothering the supporting cast. Like any good group, Spyro Gyra gives each player time in the spotlight. And even when in the background, the musicians pack plenty of punch, proving that Spyro Gyra is always Good to Go-Go.

Personnel: Jay Beckenstein: saxophones; Tom Schuman: keyboards; Julio Fernandez: guitars; Scott Ambush: bass; Bonny B: drums, percussion, vocals; Andy Narell: steel pans (3, 7); Christian Howes: violin (4); Marc Quinones: congas (4, 7, 9, 11).

By Woodrow Wilkins

Ian Carr's Nucleus - Out Of The Long Dark (1979)

01.Gone With the Weed
02.Lady Bountiful
03.Solar Wind
04.Selina
05.Out of the Long Dark (Conception)
06.Sassy (American Girl)
07.Simply This (The Human Condition)
08.Black Ballad (Ecce Domina)
09.For Liam.


Ian Carr - trumpet, Amplified trumpet, flugelhorn, electric piano
Brian Smith - Tenor & Soprano saxes, flute, Alto flute, percussion
Geoff Castle - Fender Rhodes & Yamaha elec pianos,synthesizers
Billy Kristian - bass guitar
Roger Sellers - drums, percussion
Also Featuring:
Neil Ardley - Arp Odyssey, polyphonic synthesizer
Richard Burgess - percussion
Chris Fletcher - percussion on "Solar Wind".

Ian Carr has been on the cutting edge of the British jazz scene for nearly four decades. Self-trained as a musician, Carr played an important role in the development of jazz-rock fusion, playing with John McLaughlin in the early '60s, forming one of England's first electronic jazz-rock fusion groups, Nucleus, in 1969 and playing with the international band the United Jazz Rock Ensemble, since 1975. In 1982, Carr received a Calabria award in southern Italy for Outstanding Contribution in the Field of Jazz. Wire Magazine presented him a special award for services to British jazz in 1987. Carr has been equally influential as a music journalist and educator. The co-author of a jazz encyclopedia, The Essential Companion, Carr was also the author of Music Outside, an examination of contemporary British jazz published in 1973; Miles Davis: The Definitive Biography, published in 1982; and Keith Jarrett: The Man and His Music, published in 1991. Since 1992, Carr has written a monthly column for BBC Music Magazine. Carr is an associate professor at the Guildhall School of Music and Dance and lectures weekly on jazz history. Born in Scotland and raised in England, Carr thought little of a career in music until he was nearly 30 years old. Educated at King's College in Newcastle-Upon-Tyne, where he studied English literature, Carr served in the Army in the late '50s. Shortly after his discharge, he formed a band, the EmCee Five, with his brother Mike and John McLaughlin. Carr remained with the band for two years, leaving to form the Rendell-Carr Group with saxophonist Don Rendell in 1962. During the seven years he worked with Rendell, Carr helped the band record five albums.
In September 1969, Carr helped form the groundbreaking fusion band Nucleus. The group attracted international acclaim when it took the top prize in a competition at the Montreaux International Festival in 1970. Carr continued to play with Nucleus until 1989 when he left to tour the United Kingdom and Europe as a soloist on electric trumpet with an Anglo-American orchestra led by American composer George Russell. Old Heartland was recorded with the Kreisler String Orchestra in 1988 while Sounds and Sweet Airs was recorded with organist John Taylor in 1992. ~ Craig Harris, All Music Guide.

Peter Erskine - You Never Know (1992)

01.New Old Age 9:25
02.Clapperclowe 4:51
03.On The Lake 5:03
04.Amber Waves 5:42
05.She Never Has A Window 7:18
06.Evans Above 6:16
07.Pure & Simple 6:35
08.Heart Game 5:13
09.Everything I Love 7:45.

Peter Erskine (drums)
John Taylor (piano)
Palle Danielsson (bass).
Recording information: Rainbow Studio, Oslo, Norway (07/1992).

The material on this date falls comfortably within the realm of what the ECM label is famous for; meticulously recorded, lyrical chamber music (and the requisite lush reverb is ever present). In addition to leader Erskine, the playing and writing of English pianist, John Taylor, is featured. Taylor is an excellent technician with considerable harmonic agility; his approach is heavily influenced by Bill Evans via Keith Jarrett. Bassist Palle Danielsson completes a very sympathetic, highly interactive rhythm section. "Evans Above" and "Pure & Simple" are by Taylor, whose writing tends to conjour an English pastoral aesthetic and often has elements of so-called new age piano music, a left hand ostinato for example. To Taylor's credit, however, his compositions never get as predictable as most music in that genre. The same is true of writer Vince Mendoza, whose tunes are also featured on this recording. Taylor and the group are most fluid on the Cole Porter standard, "Everything I Love." Peter Erskine is one of the most versatile and accomplished drummers in modern music. Erskine's only contribution to the session as a writer, "On the Lake," is lovely in its sheer simplicity. ~ Lee Bloom.

Terje Rypdal & The Chasers - Blue (1986)

01.The Curse 1:24
02.Kompet Går 6:49
03.I Disremember Quite Well 5:04
04.Og Hva Synes Vi Om Det 5:45
05.Last Nite 3:29
06.Blue 5:40
07.Tanga 4:14
08.Om Bare 3:03.


Terje Rypdal - Electric Guitar, Keyboards
Bjørn Kjellemyr - Electric & Acoustic Bass
Audun Kleive - Drums, Percussion.
Digital recording, November 1986 at Rainbow Studio, Oslo.

Terje Rypdal's recordings offer the listener an astounding array of styles - ranging from straight-ahead jazz played in small-combo settings to solo outings to mind-bending improvisations to orchestral compositions, and all points in between. His composition and playing and arranging are always tasteful and excellent, and the musicians he selects to execute his works are consistently first-rate. BLUE is no exception, falling into a trio of albums featuring roughly the same personnel, The Chasers - Terje on electric guitar (also adding some keyboard touches on this recordings), Bjørn Kjellemyr on electric and acoustic basses, and Audun Kleive on drums and percussion. The same players appear on Terje's previous album, CHASER, and on THE SINGLES COLLECTION (with the addition of Allan Dangerfield on keyboards). This is one of those delightful instances of musicians being so sensitively attuned to each other that they literally perform as a unit, delivering some astonishingly powerful and well-executed performances.

Opening with the short intro track 'The curse', then moving deftly into the powerful 'Kompet Går', the set takes the listener through a breathtaking experience featuring both hard-edged and gently beautiful arrangements. Terje's guitar is the only 'lead' instrument in a traditional sense, but the basses and drums of his bandmates are equally in play here. Listen to the funk-driven string-snapping and sliding chords produced by Kjellemyr on 'Kompet Går', and the incredibly precise percussive bursts from Kleive on the same track - they set the stage nicely for Terje's entrance. His playing, as always, is stunning - listen to his trademark attack-muting, as well as his amazing innate melodic sensibilities...and turn it right up! This is an album that deserves extra volume - not to blast the neighbors, but to experience the dynamic subtleties involved.

As I mentioned, Terje has produced a lot of variations during his long and distinguished career - this is a great straight-ahead album to initiate new listeners, as well as (speaking as a long-time fan of ALL of his work) one of my overall favorites in his catalogue. Also check out (besides the other two with this band, mentioned above), ODYSSEY and WHENEVER I SEEM TO BE FAR AWAY (great early works), AFTER THE RAIN (a solo effort, where Terje plays everything), WAVES and DESCENDRE (his earliest work with frequent collaborator, trumpeter Palle Mikkelborg), EOS (an incredible duet album with cellist David Darling) and LUX AETERNA (his latest, one of his orchestral outings). His catalogue, almost entirely on Manfred Eicher's ECM label, is (thankfully) large and varied - and all of it very, very good.

Larry L. Looney.

Steve Swallow - L'Histoire Du Clochard - The Bum's Tale (2004)

01.Making Ends Meet
02.Sweeping Up
03.Chelsea Bells
04.Some Echoes $0.99
05.Ladies in Mercedes
06.Hullo Bolinas
07.I'm Your Pal.


Steve Swallow (bass guitar)
Russel Johnson (trumpet, flugelhorn)
Meg Okura (violin)
Greg Tardy (clarinet)
Ohad Talmor (tenor saxophone)
Jacob Garchik (trombone).
Recording information: Maggie's Farm, Buck's County, PA (08/23/2002).

Bassist Steve Swallow is better known as a sideman than a leader, though his work as a composer may be his greatest hidden asset. Long acknowledged as one of the top electric bassists in jazz, a number of his pieces have been recorded with collaborators such as Gary Burton and Carla Bley. But this sextet, jointly led with tenor saxophonist Ohad Talmor, finds new possibilities within these songs, none of which have been widely recorded. The chamber jazz sextet assembled also includes trumpeter Russ Johnson, violinist Meg Okura, clarinetist Greg Tardy and trombonist Jacob Garchick; throughout the session, the musicians rise to the challenges of the demanding charts. Talmor's arrangements are playful and full of the spirit of adventure. "Making Ends Meet" serves as a graceful introduction, though it quickly grows complex, with a particularly spirited solo by Tardy. Talmor hints at Igor Stravinsky's introduction to The Rites of Spring in his opening solo to the haunting "Sweeping Up," with Swallow exploring the upper range of his instrument. Garchick comes to the forefront in the intricate scoring of "Chelsea Bells." The low-key arrangement of "Some Echoes" creates a bittersweet, somewhat mournful mood. The last three songs are some of Swallow's most recognized works, since all of them date from his years of working with Gary Burton. "Ladies in Mercedes" is no longer a straightforward jaunt down the highway but a musical trip with many detours into playful neighborhoods. The tenor saxophonist opens "Hullo Bolinas" unaccompanied, yet as the band joins him, the piece has only a passing resemblance to its original conception. "I'm Your Pal" is turned topsy-turvy, while adding fine solos by Swallow, Talmor and Johnson. Longtime fans of Steve Swallow will be delighted with this fresh look at his still underappreciated work as a composer. ~ Ken Dryden

Shankar - Song For Everyone (1984)

01.Paper Nut (6:08)
02.I Know (7:38)
03.Watching You (13:17)
04.Conversation (7:55)
05.Song For Everyone (6:28)
06.Let's Go Home (6:32)
07.Rest In Peace (3:24).


Shankar - 10-string double violin, drum machine
Jan Garbarek - soprano and tenor saxophones
Zakir Hussain - tabla, congas
Trilok Gurtu - percussion.
Recorded September 1984 at Rainbow Studio, Oslo.

Song for Everyone heralds the return of the groove in Shankar's East-West-minded music, with former Shakti colleague Zakir Hussain on tabla, Trilok Gurtu on percussion, and Shankar's own manipulation of a drum machine tending to the rhythms. The result is a brighter, more outgoing record than its predecessor Vision, veering between Western acoustic and electric grooves and the complex beats churned out by the tabla. Jan Garbarek again shines beams of light on soprano and tenor, engaging Shankar's ten-string double-necked electric violin in some complex interplay on the title track. Some tracks are driven entirely or partially by the drum machine; "Paper Nut" has a particularly infectious revolving pattern. But sometimes Shankar overdoes it; the lengthy "Watching You" has an overly mechanized feeling that can be either mesmerizing or infuriating, depending upon your mood. On another track, "I Know," the Western percussion is gradually swallowed up by the Indian tabla. Fascinating, free-thinking music, beautifully recorded as usual by ECM. ~ Richard S. Ginell.

George Cables - Skylark (1995)

01.Fungii Mama
02.Fee-Fi-Fo-Fum
03.Manha de Carnaval
04.Skylark
05.Samba de Orfeu
06.Someday My Prince Will Come
07.Felicidade, A
08.Pannonica
09.Dolahin.


George Cables (piano)
Jay Anderson (bass)
Albert "Tootie" Heath (drums).
Recording information: Steeplechase Digital Studio (04/1995).

George Cables made a series of excellent CDs for Steeplechase during the 1990s, one of which is Skylark, a fun trio studio session with bassist Jay Anderson and drummer Tootie Heath. Starting with a brisk take of Blue Mitchell's enticing calypso "Fungii Mama," the pianist offers a well-conceived set. A trio of tunes by great Brazilian composers include a snappy take of "Manha De Carnaval," a driving "Samba De Orfeu," and an usually upbeat take of the normally relaxed "A Felicidade." Cables also offers fresh approaches to the standards "Skylark" and "Someday My Prince Will Come." His easygoing stroll through Thelonious Monk's "Pannonica" is followed by his sole original of the date, "Dolahin," a spirited blend of calypso and Latin rhythms. ~ Ken Dryden.

Richard Davis - Now's The Time (1972)

01.Epistrophy (Thelonious Monk, Kenny Clarke) - 22:56
02.Now's The Time (Charlie Parker) - 22:31
03.Highest Mountain (Clifford Jordan) - 17:31.



Richard Davis - bass
Clifford Jordan - tenor saxophone
Marvin "Hannibal" Peterson - trumpet
Joe Bonner - piano
Freddie Waits - drums.
Recorded live at Jazz City, NYC, September 7, 1972.

Originally two side-long avant-garde jams on bebop standards ("Now's the Time" and "Epistrophy" which both clock in at over 22 minutes apiece), this live session was expanded upon its CD reissue with the inclusion of a version of Clifford Jordan's "Highest Mountain." Although tenor saxophonist Jordan, pianist Joe Bonner, drummer Freddie Waits and bassist Richard Davis were on the date, trumpeter Marvin "Hannibal" Peterson is the most dominant force, both as a player and in his conception of opening up the music. These very unpredictable renditions reward repeated listenings. ~ Scott Yanow.

Strunz & Farah - Mosaico (1982)

01.Mambito (7:21)
02.Confluence (5:42)
03.Tangle of Dreams (1:45)
04.Mandala (6:47)
05.Shadow of Heaven (7:36)
06.Nomad (8:25)
07.Fandango Caribe (5:50).


Jorge Strunz - Guitar
Ardeshir Farah - Guitar
L.Subramaniam - Violin on "Shadow Of Heaven" and "Confluence"
Omaya Alghanim - Guitar on "Mandala" (Third Solo)
Luis Conte - Congas, Timbales, Bongos, Hand Percussion
Gregg Lee - Electric Bass
Ron Wagner - Drums on "Confluence", Marimba on "Fandango Caribe".


ABOUT STRUNZ & FARAH
Strunz & Farah

The rhythmic, lyrical, often passionate music of guitarists Jorge Strunz and Ardeshir Farah makes their new Milestone album Guitarras an unforgettable experience.

Reflecting their respective backgrounds (Latin American/Spanish and Middle Eastern) as well as their penchant for progressive contemporary music, Guitarras is a showcase for the duo’s compositional skills and impeccable instrumental technique.

Strunz, who is best known for his work in the popular late-Seventies band Caldera, wrote or co-wrote most of the material on Guitarras. While their previous Milestone effort, Frontera, was more of a band production, the new LP focuses on the two guitars, with percussion accompaniment.

“We wanted a less cluttered sound,” Strunz explains, “so we got down to basics. The guitar alone can create a feeling of intimacy, and without other instruments to ‘compete’ with it, it has more room to breathe. The percussion doesn’t get in the way, but enhances the natural beauty and richness of the guitar.”

Among the supporting musicians on Guitarras are percussionists Luis Conte and Miguel Cruz; sarod player Ashish Khan (son of Ali Akbar Khan); the great Iranian vocalist Hayadeh; and, from Kuwait, guitarist Omaya al’Ghanim, who co-produced the album with Strunz and Farah.

Before meeting in Los Angeles about five years ago, Costa Rican-born Strunz and Farah, who’s from Iran, had lived, worked, and studied all over the world.

Jorge Strunz’s decision to become a musician was quite a departure from his family’s expectations for him—he comes from a long line of career diplomats. By age 12, however, he was learning to play guitar, primarily from records. “The flamenco guitar players were the people I liked best,” he recalls. “They really impressed me, particularly Paco De Lucia.”

Later, he became involved with the electric guitar, listening to Jimi Hendrix and “some of the more creative rock guitar players of the late Sixties,” as well as jazz players like Pat Martino and George Benson.

“Basically,” says Strunz, “my influences are a conglomeration of the Afro-Cuban rhythm foundation with strong Spanish input from the flamenco players. That’s why I love Middle Eastern music so much—flamenco is really a blend of Moorish/Arabic and Persian influences with the gypsy and European elements in Spain. It has a lot of passion, technique, color, and rhythm, all of which are important to me as a guitarist.”

After traveling extensively through South America, Europe, and the States, Strunz came to Los Angeles in 1973, “looking for good Latin percussionists and an Afro-Cuban pianist. I had it in mind to start a band, which later became Caldera. I’d been looking for a sound, and was lucky enough to find it and record with it.”

Caldera made four albums for Capitol, did two national tours, and worked a lot in California, opening for acts such as Grover Washington, John McLaughlin and Shakti, and the Crusaders.

When Caldera broke up, Jorge found that, like many other people, he was fed up with the fusion movement. “Tons of synthesizers, electric guitars... I felt I had to get back to the acoustic guitar to get to a more timeless sound. From that point of view, I thought two acoustic guitars would be fantastic, so I decided to look for another player who would be a good match for the kind of stuff I wanted to do.”

When Strunz met Ardeshir Farah through mutual friends and heard his playing, “I started to see the possibilities of the sound that could evolve. It wasn’t long before we resolved to organize some music.”

Like Strunz, Ardeshir had taken up the guitar at age 12. “Most of the foreign music I heard growing up was from Latin America and Spain,” he explains. “Iranians are very familiar with that kind of music—we have very good ears for it.”

Farah left Iran in 1969 to study architecture in England, and came to Los Angeles in the mid-Seventies to complete his studies, all the while continuing to play guitar. “Rock and roll mainly,” he says, “but then I started getting interested in fusion, mostly since coming to L.A. That was really when I began to develop my style.”

Ardeshir has been a full-time professional player since ’79, when he finished school. Aside from his work with Strunz, he’s recorded and performed in L.A. with “many of the Persian artists who had to move out of Iran after the revolution. For some reason, almost all of them found their way to Los Angeles, and there’s a thriving music community there.” Both guitarists have also played on record and in concert with violinist L. Subramaniam and the santur virtuoso Manoochehr Sadeghi.

Despite their seemingly disparate backgrounds, Jorge and Ardeshir find that Spain and its music provide a common point of reference. “Spain is the home of the guitar,” notes Jorge, “in terms of the serious style of playing the instrument. Insofar as flamenco uses Middle Eastern and Latin American influences, it was a natural way for us to relate.”

The duo’s first album, Mosaico, was recorded in 1980—well before John McLaughlin, Al DiMeola, and Paco De Lucia released their Friday Night in San Francisco LP—but did not come out till ’82. In Strunz’s opinion, “the return of many fusion players to the acoustic instrument around that time was an organic thing. We felt that McLaughlin’s getting his record out first, what with his resources, would help open doors for us, and I believe it has.”

Mosaico was released on the small Ganesh label after a number of companies had passed on the record because it was “too exotic, too out of the main-stream” to get airplay.

But Strunz likes to point out that “ours is an L.A. sound, an American music born right here.”

More specifically, it’s “a striking and impossibly on kind of music,” in the words of one critic, “fast as the wind and as pretty as Venus’s ring on a clear morning.”

www.concordmusicgroup.com

Strunz & Farah - Guitarras (1985)

01.Curandero (Healer) 4:20
02.Chumash 3:41
03.Sueños, Pt. 1: Dreams 4:41
04.Sueños, Pt. 2 4:41
05.Zambalera 4:37
06.Trópico 5:16
07.Talisman 4:12
08.The Feathered Serpent 4:29
09.Mirage 5:42.


Jorge Strunz - Guitar
Omaya Alghanim - Guitar
Majid Ghorbani - Doumbek, Percussion
Hugo Pedroza - Charango
Haydeh - Vocals
Luis Conte - Percussion
Enrique Cruz - Zampona,Kena
Miguel Cruz - Percussion
Ardeshir Farah - Guitar (Steel)
Ashish Khan - Sarod.

1985's Guitarras, the third album by nuevo flamenco guitar duo Strunz & Farah, continues in the same genteel world-lite vein started with 1982's Mosaico. As always, the focus is entirely on the interplay between Jorge Strunz's nylon-string Spanish classical guitar and Ardeshir Farah's richer-sounding steel string, with occasional bits of Latin and Middle Eastern percussion adding rhythmic and textural support. There are a few interesting tunes, with the two-part "Suenos" featuring the most interesting melody and the best soloing by both guitarists (particularly in the cutting-contest-style second part) and the closing "Mirage" the most intriguing rhythms, but, as is often the case in this brand of instrumental music, there's a politeness to the tunes and arrangements that far too often tips over into sappy new age treacle. This album can only be recommended to those with a high tolerance for Windham Hill's least-driving music, or who think the Gipsy Kings are too edgy. ~ Stewart Mason, All Music Guide.

Donald Byrd - Byrd's Word (1955)

01.Winterset 7:10
02.Gotcha Goin' N' Comin' 9:51
03.Long Green 4:28
04.Stareyes 7:45
05.Someone To Watch Over Me 7:38.



Trumpet - Donald Byrd
Bass - Dave Chambers
Drums - Kenny Clarke
Piano - Hank Jones
Saxophone [Tenor] - Frank Foster.

Donald Byrd was considered one of the finest hard bop trumpeters of the post-Clifford Brown era. He recorded prolifically as both a leader and sideman from the mid-'50s into the mid-'60s, most often for Blue Note, where he established a reputation as a solid stylist with a clean tone, clear articulation, and a knack for melodicism. Toward the end of the '60s, Byrd became fascinated with Miles Davis' move into fusion, and started recording his own forays into the field. In the early '70s, with the help of brothers Larry and Fonce Mizell, Byrd perfected a bright, breezy, commercially potent take on fusion that was distinct from Davis, incorporating tighter arrangements and more of a smooth soul influence. Opinions on this phase of Byrd's career diverge wildly -- jazz purists utterly despised it, branding Byrd a sellout and the records a betrayal of talent, but enraptured jazz-funk fans regard it as some of the most innovative, enduring work of its kind. In fact, proportionately speaking, Byrd is held in even higher esteem by that audience than by straight-ahead jazz fans who enjoy his hard bop output.

Donaldson Toussaint L'Ouverture Byrd II was born in Detroit, MI, on December 9, 1932. His father, a Methodist minister, was an amateur musician, and Byrd was already an accomplished trumpeter by the time he finished high school, having performed with Lionel Hampton. Byrd served a stint in the Air Force, during which time he played in a military band, and subsequently completed his bachelor's degree in music at Wayne State University in 1954. He moved to New York in 1955 to get his master's at the Manhattan School of Music, and soon began performing with pianist George Wallington's group. In December of that year, he was invited to join Art Blakey's Jazz Messengers, filling a chair once held by his idol, Clifford Brown, and Kenny Dorham. Byrd also began his recording career during this period, leading several sessions (mostly for Savoy) and working often as a sideman, particularly at the Prestige label. He left the Jazz Messengers in 1956 and joined up with Max Roach; he went on to play with the likes of John Coltrane, Sonny Rollins, and Red Garland, and also co-founded the Jazz Lab Quintet with altoist Gigi Gryce in 1957.

In 1958, Byrd signed an exclusive recording contract with Blue Note, and also formed a band with baritonist Pepper Adams, who would remain Byrd's regular partner until 1961. Byrd's Blue Note debut was 1958's Off to the Races, and he and Adams collaborated on a series of excellent hard bop dates over the next three years, including Byrd in Hand (1959), At the Half Note Cafe, Vols. 1-2 (1960), The Cat Walk (1961), and Royal Flush (also 1961), among others. Another 1961 recording, Free Form, found Byrd giving a young Herbie Hancock some of his earliest exposure. Following this burst of activity, Byrd took a sabbatical to continue his studies in Europe, where he spent some time under the tutelage of the legendary French music educator Nadia Boulanger. He returned to the U.S. in 1963 and recorded A New Perspective, a now-classic set that broke new ground by incorporating gospel choirs into its arrangements; its signature piece, "Cristo Redentor," became quite popular.

In the mid-'60s, Byrd focused more of his energies on teaching, and worked diligently to make jazz and its history a legitimate part of the college curriculum. He taught at Rutgers, Hampton, New York University, and Howard in the late '60s, and the last one remained a steady association for much of the '70s. In the meantime, Byrd continued to record occasionally, cutting a final spate of hard bop albums over 1966-1967 that included Mustang! and Blackjack. Byrd also began to study African music, inspired partly by the emerging black-consciousness movement, and became interested in Miles Davis' efforts to woo a younger audience (including Byrd's own students) by experimenting with electronics and funk rhythms. 1969's Fancy Free found Byrd using electric piano for the first time, with a spacy sound that recalled Davis' In a Silent Way. 1970's Electric Byrd had more of a Bitches Brew flavor, and the jams on 1971's Ethiopian Knights were longer, funkier, and more aggressive.

Byrd truly came into his own as a fusion artist when he hooked up with brothers Larry and Fonce Mizell, who began to handle production, writing, and some musical support duties. Their first collaboration was 1972's Black Byrd, an upbeat, funky blend of jazz and R&B. Jazz critics detested the album and called Byrd all sorts of names, but the record was a smash hit; it became the biggest seller in Blue Note history, and just missed hitting number one on the R&B albums chart. In the wake of its success, Byrd formed a supporting group, the Blackbyrds, who were culled from the cream of his music students at Howard University and recorded through the rest of the '70s. Byrd went on to release a string of successful LPs in partnership with the Mizell Brothers, including the imaginary blaxploitation soundtrack Street Lady (1974), Stepping into Tomorrow (1975), the much-lauded Places and Spaces (1976), and Caricatures (1977). All made the Top Ten on the R&B album charts, and the Places and Spaces single "Change (Makes You Wanna Hustle)" even got substantial play in discotheques. Jazz-funk fans revere this period in general, but usually reserve their highest praise for Street Lady and, especially, Places and Spaces. As a side note to his musical career, Byrd finished law school in 1976, and went on to teach at North Carolina Central University.

Following Caricatures, Byrd parted ways with Blue Note and the Mizell Brothers and moved to Elektra. He recorded several albums over 1978-1983, but even the most commercially successful, 1978's Thank You...for F.U.M.L. (Funking up My Life), didn't match the infectiousness of his Blue Note jazz-funk outings. In 1982, Byrd received his Ph.D. from Columbia Teachers College. He spent a few years in the mid-'80s away from recording, due in part to ill health, but continued to teach, moving on to North Texas State and Delaware State. In the late '80s and early '90s, Byrd returned to the hard bop of his early days on several sessions for the Landmark label. He participated in rapper Guru's Jazzmatazz project in 1993, and with the advent of the jazz-rap movement and England's acid jazz revival, his '70s albums became hugely popular sources for samples. In the meantime, Byrd continued his activities as a jazz educator. ~ Steve Huey, All Music Guide.

McCoy Tyner - Atlantis (1974)

01.Atlantis 18:02
02.In A Sentimental Mood 6:40
03.Makin' Out 13:04
04.My One And Only Love 7:50
05.Pursuit 9:20
06.Love Samba 8:35.



McCoy Tyner (piano)
Azar Lawrence (soprano saxophone, tenor saxophone)
Wilby Fletcher (drums)
Guilherme Franco (percussion).
Recording information: Keystone Komer, San Fransico (08/31/1974/09/01/1974); Keystone Korner, San Francisco, CA.

At the time of these live performances (1974), when much of the jazz keyboard world had plugged in, at least part-time, McCoy Tyner's piano remained steadfastly grand. Of course Tyner (b. 1938) has long been known for the oceanic sound he draws from the grand piano, and he and the instrument at San Francisco's fondly-recalled Keystone Korner obviously had a good thing going. With not-quite-21-year-old reedman Azar Lawrence the co-featured soloist (he was a disciple of John Coltrane, whose spirit informs and illuminates much of these proceedings), the quintet sustains the urgency, surging power, and commanding beauty forever associated with the classic Coltrane quartet--and its one-time pianist McCoy Tyner.

Apostolis Anthimos - Days We Can't Forget (1994)

01.Milestones
02.In The Big City
03.Pinocchio
04.Offramp
05.With New Energy
06.Everybody Needs Barbaras
07.The First Impression Evokes
08.Watermelon Man.


Apostolis Anthimos - g, bg, dr, keyb
Gil Goldstein - piano, rhodes, acc
Jim Beard - piano, rhodes
Matthew Garrison - bg
Paul Wertico - dr, perc
Sugar Blue - hca (8).
Recorded : Skyline Studio, N.Y, 02.1994, (3) - Spectrum Recording Studio, Athens (GR), 05.1993, (9-10), New York.

Charles Lloyd - Voice In The Night (1999)

01.Voice in the Night (6:30)
02.God Give Me Strength (4:45)
03.Dorotea's Studio (7:47)
04.Requiem (5:57)
05.Pocket Full of Blues (11:41)
06.Homage (9:26)
07.Forest Flower: Sunrise/Sunset (15:22)
08.A Flower Is a Lovesome Thing (6:49).


Charles Lloyd: Tenor Saxophone
John Abercrombie: Guitar
Billy Higgins: Percussion, Drums
Dave Holland: Double Bass.

Apostolis Anthimos - Back to The North (2005)

01.Bar Wah Wah
02.Bonnie's Eyes
03.Pinocchio's Dreams
04.Waltz for Barbaras
05.Colours Impressions
06.New Century
07.Back To The North.


Apostolis Anthimos - g, keyb, piano
Marcin Pospieszalski - cb, bg, keyb
Paul Wertico - drums.
Recorded : Presiner Studio, Niepolomice (PL), 07.2005.

Apostolis Anthimos, called "Lakis" by his friends, was born on 25th September 1954 in Siemianowice Slaskie in Poland to a family of Greek imigrants. Most notably he is known as a guitarist of one of the most important Polish prog bands S.B.B. which he formed together with Józef Skrzek and Jerzy Piotrowski in 1971 as Silesian Blues Band. They quickly became popular in the whole country and were soon engaged by Czes³aw Niemen as his new band - Grupa Niemen. With Niemen they recorded a couple of albums including "Niemen vol. 1" and "Niemen, vol. 2" and two English language ones. After the end of this cooperation they came back to their old name soon shortening it to S.B.B.
Since 1974 they recorded many great albums and gained a huge popularity to finally disband in 1980 after recording their last album "Memento z banalnym tryptykiem". The title suite of that album contains one of the most significant guitar solos in Polish rock played of course by Anthimos.
Apostolis started to act on his own then cooperating with bands like Dzem and Krzak among others. Soon he went to Greece where he performed in clubs and became a session musician. He appeared in Poland once in a while invited by a trumpeter Tomasz Stanko with whom he recorded albums "C.O.C.X.", "Lady Go", "Peyotl - Witkacy" and "Chameleon", the last one in Greece.
Morover he also worked with famous Greek musicians like Vangelis Katsoulis, Georg Dalaras or Papadopoulos Thimios and partook in every S.B.B. reincarnation since early 90s to this day.
In February 1994 he went to New York where with mucians known from Pat Metheny Group (Paul Wertico, Jim Beard, Matt Garrison, Gil Goldstein) he recorded his solo debut LP - "Days We Can't Forget". The same year he played a turnee with S.B.B. in USA after which the band disbanded once again and he came back to Greece where he formed his first trio - Trias with which he begun to tour and (having invited a vocalist Jorgos Skolias) in 1999 recorded a live album "Theatro". Since 1998 he divides his time between S.B.B. (who recorded in 2001 their first studio album since 1980 and continues to issue new material and tour to this day) and solo efforts.
In the last years beside continuing his activity with S.B.B. he also formed another trio - Apostolis Anthimos Trio with Krzysztof Dziedzic on drums and Robert Szewczuga on bass guitar and double-bass. In 2005 he recorded with Marcin Pospieszalski (bass guitar, keyboards) and Paul Wertico (drums) his second st...Apostolis Anthimos, called "Lakis" by his friends, was born on 25th September 1954 in Siemianowice Slaskie in Poland to a family of Greek imigrants. Most notably he is known as a guitarist of one of the most important Polish prog bands S.B.B. which he formed together with Józef Skrzek and Jerzy Piotrowski in 1971 as Silesian Blues Band. They quickly became popular in the whole country and were soon engaged by Czes³aw Niemen as his new band - Grupa Niemen. With Niemen they recorded a couple of albums including "Niemen vol. 1" and "Niemen, vol. 2" and two English language ones. After the end of this cooperation they came back to their old name soon shortening it to S.B.B.
Since 1974 they recorded many great albums and gained a huge popularity to finally disband in 1980 after recording their last album "Memento z banalnym tryptykiem". The title suite of that album contains one of the most significant guitar solos in Polish rock played of course by Anthimos.
Apostolis started to act on his own then cooperating with bands like Dzem and Krzak among others. Soon he went to Greece where he performed in clubs and became a session musician. He appeared in Poland once in a while invited by a trumpeter Tomasz Stanko with whom he recorded albums "C.O.C.X.", "Lady Go", "Peyotl - Witkacy" and "Chameleon", the last one in Greece.
Morover he also worked with famous Greek musicians like Vangelis Katsoulis, Georg Dalaras or Papadopoulos Thimios and partook in every S.B.B. reincarnation since early 90s to this day.
In February 1994 he went to New York where with mucians known from Pat Metheny Group (Paul Wertico, Jim Beard, Matt Garrison, Gil Goldstein) he recorded his solo debut LP - "Days We Can't Forget". The same year he played a turnee with S.B.B. in USA after which the band disbanded once again and he came back to Greece where he formed his first trio - Trias with which he begun to tour and (having invited a vocalist Jorgos Skolias) in 1999 recorded a live album "Theatro". Since 1998 he divides his time between S.B.B. (who recorded in 2001 their first studio album since 1980 and continues to issue new material and tour to this day) and solo efforts.
In the last years beside continuing his activity with S.B.B. he also formed another trio - Apostolis Anthimos Trio with Krzysztof Dziedzic on drums and Robert Szewczuga on bass guitar and double-bass. In 2005 he recorded with Marcin Pospieszalski (bass guitar, keyboards) and Paul Wertico (drums) his second studio album "Back To The North" (released in 2006). He also renewed his collaboration with Tomasz Stanko (the album "Wolnosc w sierpniu").
The year 2007 meant creating Apostolis Anthimos Quartet with Arild Andersen - double bass, Tomasz Szukalski - sax and Krzysztof Dziedzic - drums, percussion who was later replaced by Janusz Skowron.
In 2008 Apostolis Anthimos acompanied by Robert Szewczuga on bass guitar recorded his third album "Miniatures". Besides the guitar he also plays drums and keyboards.
His latest project is Anthimos Skowron United with Janusz Skowron on keyboards and Robert Szewczuga on bass guitar.

www.progarchives.com

Dave Liebman - Miles Away (1994)

01.Code M.D.
02.Wili (For Dave)
03.In a Silent Way
04.81
05.Fall
06.All Blues
07.Pan Piper
08.Milestones
09.Smooch
10.Solar
11.Boplicity.


David Liebman (soprano saxophone)
Vic Juris (acoustic guitar, electric guitar)
Kent Heckman (electric guitar)
Caris Visentin (English horn)
Phil Markowitz (piano, keyboards)
Tony Marino (acoustic bass, electric bass); Jamey Haddad (drums, percussion)
Scott Cutshall (hand claps).
Recording information: Red Rock Studios, Saylorsburg, PA (03/12/1994-03/13/1994); Red Rock Stueios, Saylorsburg, PA (03/12/1994-03/13/1994).

Dave Liebman, who played with Miles Davis' group during 1974-1975, pays tribute to the innovative trumpeter throughout this excellent Owl CD. To Liebman's credit, he does not ignore Davis' fusion period; in fact, he starts out with the most recent composition (Robert Irving's "Code M.D." from 1984) and works his way backwards chronologically. Actually, with Vic Juris often playing rockish guitar and the older tunes being reharmonized, there is a definite unity and freshness to the material. Charles Mingus' moody ballad "Smooch" comes across as quite contemporary while "Solar" sounds like it could have been written in the 1970s. Liebman's highly expressive soprano, Juris' echoey guitar, and pianist Phil Markowitz are the main soloists, but everyone plays quite well; the inclusion of Caris Visentin's English horn on "Pan Piper" (from Sketches of Spain) is a nice touch. Because this project does not merely copy the past but brings some fresh insight to the material, one suspects that even Miles Davis would have liked the results. ~ Scott Yanow.

John Abercrombie & Andy LaVerne - Now It Can Be Played (1992)

01.Now It Can Be Played 7,45
02.I Wish I Knew 8,10
03.Shadow And Fog 8,00
04.John's Waltz 7,00
05.Cat Nap 9,00
06.Yesterdays 7,45
07.Labour Day 7,30
08.Waltz King 8,30.

John Abercrombie - guitar
Andy LaVerne - piano
Steve LaSpina - bass
Jeff Hirshfield - drums.

Recording Jim Anderson at Steeple Chase Digital Studio, April 1992.

John Abercrombie and Andy LaVerne had worked together on a number of occasions with each other, and with bassist Steve LaSpina and drummer Jeff Hirschfield, though Now It Can Be Played marked the first occasion for all four musicians to work together on a recording session. The standard "I Wish I Knew" is a sparkling example of their listening to one another, while the influence of the late Bill Evans is obvious in LaVerne's solo. Their setting of "Yesterdays" is a bit unconventional, taking an angular post-pop approach that opens up new possibilities within this decades-old standard. LaVerne contributed several originals, including the intricate "Shadows and Fog" and the exotic "Waltz King." Abercrombie penned the mid-tempo cooker "Labour Day" and "John's Waltz," the latter previously recorded by the composer with LaVerne for their duo CD Natural Living. This is a fine date that is filled with many interesting twists. ~ Ken Dryden, All Music Guide.

Jan Hammer - Black Sheep (1978)

01.Jet Stream
02.Heavy Love
03.Black Sheep
04.Light of Dawn
05.Hey Girl
06.Waiting No More
07.Between the Sheets of Music
08.Manic Depression.


Jan Hammer - keyboards, drums, percussion
Colin Hodgkinson - vocals
Gregg Geya Carter - vocals
Bob Christianson - vocals
Tony Smith - drums, vocals
Fernando Saunders - bass, vocals.

Leon Thomas Blues Band - The Leon Thomas Blues Band (1988)

01.Every Year I Get the Blues
02.Shake, Rattle & Roll
03.Every Day I Have the Blues
04.School Girl Blues
05.Flip Flop and Fly
06.Duke's Place
07.Blues Is the Blues Is the Blues
08.Next Time You See Me.



Leon Thomas' next incarnation was a total departure, for he re-invented himself as a straight-ahead, no-crap blues singer in the mold of Big Joe Turner! He started out on the right track by putting together a tight, smart blues ensemble -- with Houston Person on tenor, Babe Clark on baritone, Ernie Hayes on piano, Melvin Sparks and Hugh McCracken on guitar, and the incomparable Bernard Purdie driving it along on drums. But then, mysteriously, Leon didn't follow all the way through, for he sings on only three tracks here, one a duet with the competent blues singer Donald Smith (two others are instrumentals, and three more are solos for Smith). Thomas does a whale of a job on his two Big Joe solo numbers, "Shake, Rattle and Roll" and "Flip, Flop and Fly" -- his vocals are full of authentic character with nary a yodel to be heard. But such short weight on an already brief (34 minutes) CD rule this album out for all but dedicated Leon Thomas nuts. ~ Richard S. Ginell.

Leon Thomas (who changed his name to Leone in 1974) made his mark in 1969, singing "The Creator Has a Master Plan" with Pharoah Sanders and showing that even avant-garde jazz can become popular under some circumstances. A fairly conventional singer, the most unusual aspect to Thomas was that he often broke out into yodelling in the middle of a vocal, a device since utilized occasionally by James Moody. Thomas, whose early associates included Grant Green, Jimmy Forrest, and Hank Crawford, studied music for two years at Tennessee State University. He moved to New York in 1958, toured with a show sponsored by the Apollo Theater, had two largely unrecorded stints with Count Basie (1961 and 1964-1965), and performed with such jazz artists as Mary Lou Williams, Randy Weston, Rahsaan Roland Kirk, and later on Oliver Nelson. After recording "The Creator Has a Master Plan" in 1969 (once under his own name, with the better-known version being on Sanders' Karma), Thomas seemed on the verge of stardom. However, his career faltered and he remained an underground figure. As a leader, Leon Thomas recorded for Flying Dutchman, Blues Time, Mega, the Italian Palcoscenico label (in 1979 with Freddie Hubbard's group); as the leader of a blues-oriented band for Portrait (1988); and for Mapleshade. He also appeared as a sideman in many situations, including on a Louis Armstrong 1970 record and with Carlos Santana (who he worked with in 1971). Thomas died of heart failure on May 8, 1999. ~ Scott Yanow, All Music Guide.

Michael White - The X Factor (1978)

01.You Are My Heartbeat 4:02 Arranged By - George Duke
Bass - Byron Miller
Congas - King Errisson
Drums - Leon "Ndugu" Chancler*
Electric Piano [Yamaha Electric Grand] - Gregory Phillinganes*
Flute - Hubert Laws
Guitar - Michael Sembello
Saxophone [Tenor] - Albert Wing
Trombone - Bruce Fowler*
Trumpet, Flugelhorn - Walt Fowler
Violin [5-string Electric Violin] - Michael White
Vocals - Josie James , Muffy Hendrix , Petsye Powell
Written-By - Michael White.

02.Life As Always 4:11 Arranged By - George Duke.
Bass - Byron Miller
Drums - Leon "Ndugu" Chancler*
Electric Piano [Rhodes], Synthesizer - Dawilli Gonga
Violin [5-string Electric Violin] - Michael White
Vocals - Josie James , Muffy Hendrix , Petsye Powell
Written-By - George Duke.

03.Love Call 3:30 Arranged By - Don Mizell,George Duke,Michael White.
Backing Vocals - Josie James , Pattie Brooks , Petsye Powell
Bass - David Daniel
Congas, Tambourine - Edward Myers (Oscar)*
Cowbell, Percussion - Joseph Barboza
Drums - Babatunde*
Electric Piano [Rhodes] - Duane "Muziki" Roberson*
Guitar - Marvin Boxley
Lead Vocals - Petsye Powell
Lyrics By - Don Mizell
Violin [Acoustmichael Whiteic] - Michael White
Written-By - Michael White.

04.Well, Do It Then 3:29 Arranged By - Michael White.
Arranged By [Horns] - George Duke
Bass - David Daniel
Congas - Babatunde*
Cowbell - Edward Myers (Oscar)*
Drums - Joseph Barboza
Electric Piano [Rhodes] - Duane "Muziki" Roberson*
Guitar - Marvin Boxley
Saxophone [Tenor] - Albert Wing
Synthesizer - Dawilli Gonga
Trombone - Bruce Fowler*
Trumpet - Walt Fowler
Violin [5-string Electric Violin], Vocals - Michael White
Vocals - Josie James , Muffy Hendrix , Petsye Powell
Written-By - Michael White.

05.The Red Planet 5:05 Arranged By - George Duke.
Bass - Byron Miller
Drums - Leon "Ndugu" Chancler*
Electric Piano [Rhodes], Synthesizer [Moog] - Dawilli Gonga
Guitar - Roland Bautista
Violin [Violectra] - Michael White
Written-By - George Duke.

06.We Don't Eat No Meat 4:13 Arranged By - Don Mizell,George Duke ,Michael White.
Bass - Byron Miller
Congas, Percussion - King Errisson
Drums - Leon "Ndugu" Chancler*
Electric Piano [Rhodes] - Greg Phillinganes
Guitar - Michael Sembello
Lyrics By - Don Mizell , George Duke
Violin [5-string Electric Violin] - Michael White
Vocals - Josie James,Napoleon Murphy Brock*,PattieBrooksPetsye Powell
Written-By - Michael White.

07.Let Love Be Your Magic Carpet 6:09 Arranged By - Don Mizell,George Duke , Michael White.
Bass - David Daniel
Congas - Babatunde*
Drums - Joseph Barboza
Electirc Piano [Yamaha Electric Grand,Rhodes],Synthesizer
Dawilli Gonga
Flute, Piccolo Flute - Hubert Laws
Guitar - Marvin Boxley
Other [Souzabone] - Raul De Souza
Percussion - Airto Moreira
Violin [Violectra] - Michael White
Vocals - Josie James , Pattie Brooks , Petsye Powell
Written-By - Michael White.

08.Smile In Your Eyes 3:46 Arranged By - George Duke , Leon "Ndugu" Chancler*
Bass - Byron Miller
Drums - Leon "Ndugu" Chancler*
Electric Piano [Rhodes], Organ [Celeste], Synthesizer - Dawilli Gonga
Violin [5-string Electric Violin] - Michael White
Vocals - Josie James , Muffy Hendrix , Petsye Powell
Written-By - Leon "Ndugu" Chancler*.

09.X Factor 5:11 Arranged By - Michael White
Bass - David Daniel
Congas - Babatunde*
Drums - Joseph Barboza
Electric Piano [Rhodes], Soloist - Patrice Rushen
Electric Piano [Yamaha Electric Grand] - Duane "Muziki" Roberson*
Guitar - Marvin Boxley
Lyrics By - Michael White
Timbales, Percussion - Edward Myers (Oscar)*
Violin [5-string Electric Violin] - Michael White
Vocals [Recorded at Paramount Recording Studios, Los Angeles
Mastered at Kendun Mastering Room
(P) 1978 Elektra Records.Vocal Chant] - Leon "Ndugu" Chancler* , Michael White.

Still relatively unknown nearing the end of the 1970s, this talented violinist turned to George Duke to produce, arrange and hopefully reach some ears. The result for the most part is enjoyable but unremarkable jazz-pop-soul. On tunes like "The Red Planet," though, he's right there with the glory days of Mahavishnu Orchestra and Billy Cobham. It suggests what might have been for White before Jean-Luc Ponty staked out the high ground on the jazz violin landscape. ~ Mark Allan, All Music Guide.

Hermeto Pascoal - Hermeto (1972)

01.Coalhada
02.Hermeto
03.Guizos
04.Flor Do Amor (Jose Neto Pascoal)
05.Alicate
06.Velório
07.As Marianas
08.Fabiula.

Joe Farrell, Jerry Dodgion, Arthur Clarke, Hubert Laws, Maurice Smith, Harold Jones, Leon Cohen, Jerome Richardson - woodwinds.
Garnet Brown, Wayne Andre, Jack Jeffers, Richard Hixson - trombones
Thad Jones, Joe Newman, Gene Young, Ernie Royal, Melvin Davis - trompetes
Don Butterfield - tuba
Ron Carter - baixo
Airto Moreira - percussão, bateria
Flora Purim - vocal.

Hermeto´s first album released in the USA. Performs as the composer, musical arranger and instrumentist (keyboards and flutes).

Charles Lloyd Quartet - Love In (1967)

01.Tribal Dance 10:20
02.Temple Bells 2:58
03.Is It Really the Same? 6:04
04.Here, There and Everywhere 3:52
05.Love-In 4:57
06.Sunday Morning 8:11
07.Memphis Dues Again/Island Blues 9:10



Charles Lloyd - Flute, Sax (Tenor)
Keith Jarrett - Piano
Ron McClure - Bass
Jack DeJohnette - Drums.
Recorded live at the Fillmore, San Francisco, California.

Issued in 1966, Love-In was the follow-up to the amazing Dream Weaver, the debut of the Charles Lloyd Quartet. Love-In was recorded after the 1966 summer blowout and showed a temporary personnel change: Cecil McBee had left the group and was replaced by Ron McClure. McClure didn't possess the aggressiveness of McBee, but he more than compensated with his knowledge of the modal techniques used by Coltrane and Coleman in their bands, and possessed an even more intricate lyricism to make up for his more demure physicality. Of the seven selections here, four are by Lloyd, two by pianist Keith Jarrett, and one by Lennon/McCartney ("Here, There and Everywhere"). Certainly the '60s youth movement was making its mark on Lloyd, but he was making his mark on them, too. With young Jarrett in the mix, turning the piano over in search of new harmonic languages with which to engage not only Lloyd as a soloist but the rhythm section as well, things were certainly moving across vast terrains of musical influence and knowledge. Drummer Jack DeJohnette took it all in stride and tried to introduce as many new time signatures into the breaks as he could get away with, allowing the ever-shifting chromatics in Jarrett's playing to be his cue from 7/8 to 9/8 to 12/16 and back to equal fours ("Sunday Morning," "Temple Bells," "Memphis Dues Again"), no matter what the musical style was. And there were plenty, as Lloyd led the excursion from post-bop to modal to blues to Eastern raga to cool and back. On Love-In, everything was jazz for the Charles Lloyd Quartet, and what they made jazz from opened the music up to everybody who heard it. The album is a lasting testament to that cultural ecumenism. ~ Thom Jurek
This original 1967 recording is form the vaults of Atlantic Records. This exuberant performance includes a ten minutes jam of Charles Lloyds 'Tribal Dance', Keith Jarrett's 'Sunday Morning' and John Lennon and Paul McCartney's 'Here, There & Everywhere'. 2002.

Bill Evans Trio - Moon Beams (1962)

01.Re: Person I Knew (B.Evans) 5:42
02.Polka Dots And Moonbeams (Burke-Van Heusen) 4:57
03.I Fall In Love Too Easily (Styne-Cahn) 2:39
04.Stairway To The Stars (Parish-Malneck-Signorelli) 4:48
05.If You Could See Me Now (Dameron-Sigman) 4:27
06.It Might As Well Be Spring (Rodgers-Hammerstein) 5:59
07.In Love In Vain (Kern-Robin) 4:59
08.Very Early (B.Evans) 4:58.


Bill Evans (piano)
Chuck Israels (bass)
Paul Motian (drums).
Recorded at Sound Makers, Inc, New York, New York on May 17 & 29 and June 2, 1962. Originally released on Riverside (9428).

Bassist Scott LaFaro's death in the early summer of 1961, just 10 days after the Bill Evans Trio's triumphant Village Vanguard engagement was a devastating personal and musical, loss to the pianist, after which he took nearly a year off from recording or playing in public. (The Vanguard performances can be heard on SUNDAY AT THE VILLAGE, WALTZ FOR DEBBY and AT THE VANGUARD.) It fell to another bassist, Chuck Israel, to bring Evans out and re-establish the Bill Evans Trio as a going concern. Possessed of a warm tone, Israels' essentially supportive playing with the Trio made for a studied contrast with the brashly virtuosic LaFaro, which was not necessarily a bad thing.
As if to make up for lost time, the newly reconstituted trio recorded two albums' worth of material in June and May of 1962. MOONBEAMS is the "softer" of the two and introduced two graceful Evan's originals, "Re: Person I Knew" (an anagram of producer Orrin Keepnews's name) and the lyrical fugue "Very Early." While any of the early Riverside albums make an excellent introduction to Bill Evans, MOONBEAMS is perhaps the most exquisitely romantic of the bunch, much like Coltrane's BALLADS in this respect.