Bobby Matos & John Santos - Mambo Jazz (2001)

01.Entrada (Agogo y Agbe) 2:28

02.Caminado 5:44

03.Mambo Mona Mix X 3:55

04.I Don't Speak Spanish (But I Understand Everything When I'm Dancing) 6:46

05.Nueva Diana 4:52

06.Oye Mi Querida 5:07

07.Ya Se Ve 5:10

08.Cachao 5:36

09.Salida (pa' Cafe Borinquen) 1:19.

Bobby Matos- timbales, congas, bongos, chekere, guiro, bells, coro

John Santos- timbales, coro

Victor Cegarra- piano

John Calloway- piano, flute

Eliseo Borrero, David Belove- bass

Michael Turre- baritone saxophone, alto saxophone, flute, bells

Melecio Magdaluyo- flute, alto saxophone

Ron Stallings- soprano saxophone, tenor saxophone

Wayne Wallace- trombone

Gilbert Castellanos- trumpet

Paul Van Wageningen- claves

Judson Matos- chekere

Robertito Melendez- bongos, bell, chekere

Orestes Vilato- timbales.

By
JIM SANTELLA.

By allowing their bands to jam together for this project, Bobby Matos and John Santos have created a loose-knit, easy to like affair. Both percussionist bandleaders emphasize Afro-Latin jazz in their respective ensembles. Beside a colorful lineup of tuned drums and cowbells of different sizes, their combined orchestra has room for traditional Afro-Cuban vocals and fiery horn solos. Two dramatic readings make an emotional impression. One appears as a reverent homage to bassist Israel "Cachao" Lopez, 82, who is widely regarded as the creator of mambo music. The other forges ahead in a contemporary mood with thoughts on how this music affects us. Passionate and piercing, the mambo has long given us visual and aural scenery for romance. Horn solos offer refreshing samples of the spontaneity; and everyone in the combined band gets involved. Of particular note are the spots provided by John Calloway on piano and flute, Michael Turre on baritone sax, Wayne Wallace on trombone, Eliseo Borrero on bass, Victor Cegarra on piano and both Ron Stallings & Melecio Magadaluyo on saxophones. Both leaders share their enthusiasm through various percussion instruments. Santos and Matos reach a high point on "Oye Me Querida," on bongos and timbales, respectively, when they interact with conguero Robertito Melendez with spirits soaring. Both bandleaders provide effective examples of the required rhythms, while leading their combined orchestra through a pleasurable session of mambo jazz.

Branford Marsalis & Joe Calderazzo - Songs Of Mirth And Melancholy (2011)

01.One Way 7:13

02.The Bard Lachrymose 4:28

03.La Valse Kendall 7:40

04.Face On The Barroom Floor 4:31

05.Endymion 6:02

06.Die Trauernde 1:42

07.Hope 8:49

08.Precious 6:02

09.Bri's Dance 8:04.

Branford Marsalis - saxophones

Joey Calderazzo - piano.

Given the history that saxophonist Branford Marsalis and pianist Joey Calderazzo have, the end results of Songs of Mirth and Melancholy should not be surprising, yet they are. Calderazzo replaced the late Kenny Kirkland in Marsalis' band in 1998 and the rapport between them is seamlessly intuitive as revealed here. Cut in three days in Durham, North Carolina, the set contains compositions by both men, as well as a surprising pair of covers.

Black Roots - Funky & Abstract Directions In Jazz (1965-1975) (2001)

01 I WALK ON GILDED SPLINTERS - Dr John the Night Tripper

02 JAGGER THE DAGGER - Gene McDaniels

03 THE WINDJAMMER - Mongo Santamaria

04 IT'S YOUR THING - Shirley Scott

05 FOXY BROWN - David Newman

06 MEAN GREENS - Eddie Harris

07 SEE LINE WOMEN - Yusef Lateef

08 THE FAKIR - Duke Pearson

09 RAGA MEGHA - Joe Harriott/John Mayer Double Quintet

10 WITCHI TAI TO - Jim Pepper

11 SUFUR - Rufus Harley

12 BLACK ROOT - Roland Kirk.

Various Artists (Atlantic)
By Dean Rudland.

And all hail to the genius of Atlantic Records. Because as we enter that most future of years - well after 1984 and that blew it - we've prepared for the release of a monster of a compilation that really shows some far out thinking amongst the jazz and progressive funk community in the late 60s early 70s.

We have music going back to its most basic of objects, the drum. In Black Root Roland Kirk, takes us back to the street parades of New Orleans and with the primal screams of his horns gets straight to the heart of the matter. Dr. John brings in the Voodoo spirit for his seminal I Walk On Gilded Splinters, hippy trippy nonsense, which somehow is something more. Eugene McDaniels who used to be plain Gene crooning pop hits. In the 70s he subsidised a politicised solo career as the Left Rev. McD by writing big pop hits for Roberta Flack. Here he may or may not be taking on the egotism of certain pop stars - but he definitely does it over one hell of a groove that was one of the key breaks on Tribe Called Quest's debut LP.

Mixing in elements of funk into the overall stew are David Newman on Roy Ayers Blaxploitation classic Foxy Brown and Shirley Scott playing it fairly straight with the Isleys' It's Your Thing. Adding the final ingredient of a touch of latin flavour is Mongo Santamaria who takes Neal Creque's Windjammer away from the islands and into a Nu-Yorican funk flier.

Keeping it more into an R&B roots thing is Yusef Lateef, who takes on the sought-after Nina Simone cut See Line Women in his normal commanding style. Eddie Harris is equally as commanding on his own Mean Greens - a much underrated horn player giving it the most.

Lateef was renowned for introducing Eastern influences into jazz, and taking up his challenge here is Duke Pearson with the amazing The Fakir which has the much underrated James Spaulding on flute. More authentic and just as good is the Joe Harriott - John Mayer Double Quintet. Taking it into another place are the Native American chants that Jim Pepper brings to Witchi Tai To.

So as we said let's hail Atlantic Records and its messing in a wide variety of music. Never has the past sounded so modern.

Brother Jack McDuff - Brotherly Love (2001)

01.Hot Barbecue 5:36

02.Vas Dis 7:27

03.Kettle Of Fish 5:19

04.Georgia 7:57

05.Santa Amalia 5:39

06.April In Paris 4:40

07.Time's Marchin' On 9:34

08.Pork Chops & Pasta 8:08

09.Rock Candy 11:51.

Brother Jack McDuff, Joey DeFrancesco (Hammond B-3 organ)

Red Holloway (alto & tenor saxophones)

Andrew Beals (alto saxophone)

Jerry Weldon (tenor saxophone) John Hart, Pat Martino (guitar)

Frank Gravis (bass)

Grady Tate, Rudy Petschauer (drums).

Brotherly Love is "Brother" Jack McDuff's final recording session, and features Red Holloway and Pat Martino, both of whom were integral members of his popular '60s group. Recorded just months before his sudden death in 2001, McDuff pulls out all the stops on nine great tracks with phenomenal Hammond B-3 artistry. Two bonus tracks feature previously unreleased material that spotlights McDuff with his protégé, Joey DeFrancesco, sharing in the brotherly love.

Six originals and three standards brim with McDuff's trademark soul and blues chops, all sharing stories in a language the entire world can understand -- the blues. "Hot Barbecue" and "Georgia" are sure standouts, while the "live" recordings, "Pork Chops and Pasta" and "Rock Candy," add another level of excitement to this great recording. On the "live" tracks, McDuff and DeFrancesco together display their staggering Hammond B-3 organ techniques and their love of the blues and jazz that made them a presence on the soul-jazz scene. "Brother" Jack McDuff was a true soul-jazz man, and Brotherly Love captures the essence of the strong musical path he forged for more than 50 years.

Bobby Hutcherson - Farewell Keystone (1982)

01.Crescent Moon (7:14)

02.Short Stuff (6:51)

03.Prism (7:00)

04.Starting Over (10:56)

05.Rubber Man (6:56)

06.Mapenzi (13:31).

Bobby Hutcherson (vibraphone)

Harold Land (tenor saxophone)

Oscar Brashear (trumpet, flugelhorn)

Cedar Walton (piano)

Buster Williams (bass)

Billy Higgins (drums).

Recorded a year before San Francisco's legendary club Keystone Korner (which was open for 11 years) closed, this live set features tenor-saxophonist Harold Land with vibraphonist Bobby Hutcherson (who co-led a group with him in the 1970's) and trumpeter Oscar Brashear (who has often teamed up with Land during the past 15 years). With pianist Cedar Walton, bassist Buster Williams and drummer Billy Higgins completing the sextet, it is not surprising that the music is hard bop-oriented and of consistent high quality.
Originally out on Theresa, the Evidence [Bellaphon] CD reissue adds a lengthy version of Harold Land's "Mapenzi" to the original five-song program, all of which are originals by the musicians. Recommended.

Bryan Beller - View (2003)

01.Bear Divide Beller 2:33

02.Seven Percent Grade 5:31

03.Supermarket People 7:12

04.Elate 1:32

05.Get Things Done 7:35

06.Backwoods 3:37

07.Bite 3:54

08.Eighteen Weeks 7:39

09.Projectile 1:35

10.Wildflower 4:49

11.No 4:12

12.See You Next Tuesday 4:11

13.View.

Jeff Babko - Organ (Hammond)

Bryan Beller - Audio Production, Bass, Bass (Acoustic), Bass (Electric), Composer, Keyboards, Piano, Producer, Soloist, Spoken Word, Vocals

Sean Bradley - Violin

Fausto Cuevas - Percussion

Nick D'Virgilio - Audio Engineer, Engineer, Mixing, Vocals (Background)

Colin Keenan - Vocals

Mike Keneally - Organ (Hammond), Piano, Vocals (Background)

Dmitri Kourka - Viola, Violin

Rick Musallam - Guitar, Guitar (Acoustic), Guitar (Electric), Vocals (Background), Wah Wah Guitar

Toss Panos - Drums

Wayne Perez - Cartage, Documentation, Sound Effects

Griff Peters - Guitar, Guitar (Baritone)

Tricia Steel - Vibraphone

Dave Takahashi - Cello

Joe Travers - Drums

Wes Wehmiller - Composer, Guitar (Bass), Photography, Vocals (Background)

Yogi - Guitar.

Review
by Sean Westergaard

After a decade or so of being "bassboy for hire," seemingly content playing other people's music, Bryan Beller decided the time was right for making some music of his own. View is his first travel down that road. It's an album of solid rock instrumentals (a couple tunes have vocals), broken up by several solo bass pieces. Beller's got chops to spare, but also shows taste and restraint in his playing, along with some fine compositions.

View starts with the very pretty "Bear Divide," scored for an electric and an acoustic bass, then moves into a killer groove with "Seven Percent Grade," featuring Mike Keneally on piano and Rick Musallam on guitar (Beller's bandmates in the Mike Keneally Band). Then it's time for Keneally's turn on guitar with "Supermarket People," with Jeff Babko on Hammond organ, followed by the slightly ominous "Elate," for solo bass. Beller was wise to limit Keneally's involvement (lest anyone doubt this is Bryan's baby), and just as wise to feature Rick Musallam and Griff Peters on guitars, because they sound great on these tunes.

As a composer, Beller shows a pretty broad range, and an affinity for some genuinely sick tones (check Musallam on "Seven Percent Grade," or Keneally on "See You Next Tuesday"). Although all the songs are clearly composed, some are more of a groove, allowing the guitarists plenty of room to strut. "Projectile" is a fairly brief rocker with a great distorted vocal that builds to a frenetic conclusion. Each of the solo bass pieces evokes a different mood, with Beller showing what a great musician he is (there's a lot more to it than just technique). His treatment of John Pattitucci's "Backwoods" is especially nice. Perhaps the most surprising pieces are "Eighteen Weeks," with its wonderful use of a string trio and vibes, and the beautiful title cut, "View," both of which really demonstrate the depth of Beller's composing ability. The only mis-step on the album is "Bite," a pretty generic rocker, and the only other tune Beller didn't write himself. Given Beller's abilities and background, this could have all too easily become a bass showcase, or a guitar shredder album. There is some monster playing on the album to be sure, and fans of those camps will not be disappointed with View, but thanks to his musical sense and savvy, the album goes way beyond that. Those familiar with him already knew Bryan Beller was a great bass player; View shows him to be a fine composer, and an excellent producer as well. This is a strong first effort.

Biography
by Sean Westergaard

After graduating from Berklee College of Music in 1993, Bryan Beller's first big gig was with Ahmet and Dweezil Zappa's band Z, which is where he first met Mike Keneally. In 1996, after two albums and a tour, Keneally decided to leave Z for a solo career and Beller decided to stick with Keneally, beginning a musical partnership that's now lasted more than ten years over the course of seven albums and countless tours. During his time in Los Angeles, Beller also played and/or recorded with Wayne Kramer (MC5), Dream Theater's James LaBrie, singer/songwriter Janet Robin (Lindsey Buckingham), and Steve Vai. Beller appears on several Vai albums, and was asked to be bassist for Vai's 2004 shows with the prestigious Metropole Orchestra (their performance of "Lotus Feet" was nominated for a 2005 Grammy). In 2002, Beller began work on View, his debut as a leader. Financed, composed, and produced by Beller, the critically praised View was released on his own Onion Boy label in the fall of 2003.

Beller is also a freelance writer whose work has appeared in numerous publications, including a long-running column in Bass Player magazine (1999-2003). He's interviewed several heavyweight bass players like Lee Sklar, Neil Stubenhaus, and Billy Sheehan, and currently has a column called Masterclass in Bass Player. Beller moved from Los Angeles to Nashville in early 2006, but continues to work as both a freelance bassist and writer while working on material for his second album. Despite the location change, he is also still recording and touring with Mike Keneally both in the Mike Keneally Band and as a clinician for Taylor Guitars.

Arturo O'Farrill - Blood Lines (1999)

01.Moment's Notice

02.Brava

03.Chinas y Criollas

04.Pure Emotion

05.Ya Yo

06.Little Susan

07.Arturo's Closet

08.Siboney

09.Walking Batteriewoman

10.Darn That Dream.

Arturo O'Farrill (piano)

Papo Vazquez (trombone)

Andy Gonzales, George Mraz (bass)

Horacio "El Negro" Hernandez (drums)

Jerry Gonzales (congas, percussion).

Recording information: Clinton Recording Studio, New Y (02/1999).

Fast approaching 40, pianist O'Farrill (son of the legendary Latin bandleader/arranger Chico O'Farrill) finally released his debut CD. It's a meaty jazz trio-oriented affair with several Afro-Cuban spins, more like Bill Evans with fire than burn-down-the-house Eddie Palmieri. But since he is no spring chicken or lightweight, O'Farrill's lyricism and good melodic and harmonic common sense are well developed and far from naïve. He's active and interactive, digging in and taking his swings, listening and reacting to the mighty contributions of bassist George Mraz or Andy Gonzalez and the exciting drumming of Horacio "El Negro" Hernandez. As much as he's capable, he's not trying to blow you away with pyrotechnics, but seduce you with advanced, temperature-rising music. The recording starts with a concise, crisp, uptempo version of "Moment's Notice," followed by the Santi Debriano-written Panamanian waltz "Brava." One of the most unusual pieces is the interesting Chinese-Cuban, Rob Mounsey-written "Chinas y Criollas," with Jerry and Andy Gonzalez and including Jerry on congas. Also featured is Carla Bley's lightning-quick "Walking Batterie Woman," which O'Farrill played at a much more deliberate speed when he was with Bley's band in the late '70s and early '80s. Two tracks feature the purposefully flatted, mushy, bluesy trombone of Papo Vazquez on the rolling, kinetic "Ya Yo" and the similarly energized 5/4 to 6/8 original "Arturo's Closet." O'Farrill also explores the patient, trusting romanticism of classic Afro-Cuban composer Ernesto Lecuona during the evergreen "Siboney," Mraz's arco intro does the same on "Pure Emotion," and a solo piano version of the standard "Darn That Dream" fully displays O'Farrill's interpretive and improvisational talents to the max. There's also a beautiful Randy Weston piece titled "Little Susan" in 6/8. Aside from the world-class musicianship, O'Farrill's stance is inviting and resourceful as any, and he likes to change up time signatures, which makes the date eminently and repeatedly listenable. Better late than never for O'Farrill, this marvelous recording shows the leader in a most favorable light. A gem in little need of polishing. ~ Michael G. Nastos
.

All-Star Celebration Of Cannonball Adderley - Cannon Re-Loaded (2008)

01.Jive Samba [06:35]

02.Work Song [05:52]

03.Mercy, Mercy, Mercy [05:51]

04.Save Your Love For Me (featuring Nancy Wilson) [04:53]

05.Sack O' Woe [05:33]

06.Country Preacher [03:21]

07.Inside Straight [05:07]

08.I Should Care [05:49]

09.The Masquerade Is Over (featuring Nancy Wilson) [05:29]

10.Stars Fell On Alabama [04:19].

Tom Scott - Leader, Alto Saxophone

Terence Blanchard - Trumpet

George Duke - Piano, Fender Rhodes, Wurlitzer

Marcus Miller - Bass

Steve Gadd - Drums

Larry Goldings - Hammond B3 Organ

Dave Carpenter - Bass (tr. 8,10)

Nancy Wilson - Vocals (tr. 4,9).

Saxophone stalwart Tom Scott and an all star cast of today's jazz icons join to celebrate the legendary music of Cannonball Adderley, with a very special guest appearance by Nancy Wilson reprising two songs from her classic 1961 recording, Nancy Wilson/Cannonball Adderley.

Attila Laszlo Band – Smart Kid (1999)

01.Bridal Dance (5:55)
02.Smart Kid (5:41)
03.Doctor Q (6:16)
04.Sounds Of My Heart (4:04)
05.Once Upon A Time (6:18)
06.Dr q (2:42)
07.Native (9:17)
08.Tale From The Waltz (5:38)
09.Jazzy (5:48)
10.The Way Home (3:16)
11.Five In One (7:03).

Andre Ceccarelli Trio - Avenue des Diables Blues (2006)

01.Nardis (Davis) – 5:09

02.Sophisticated Lady (Ellington-Mills-Parish) – 7:01

03.Summertime (Tribute to Mr. Jimmy Smith) (Gershwin-Gershwin-Heyward) – 6:52

04.Prelude (Ceccarelli) – 1:50

05.April in Paris (Duke-Harburg) – 5:32

06.3 Views of a Secret (Pastorius) – 7:30

07.Avenue des Diables Blues (Ceccarelli-Legnini) – 4:32

08.La Vie en Rose (Louiguy-Piaf) – 5:37

09.Sunrise (Jones-Lee) – 6:07

10.The Song Is You (Hammerstein-Kern) – 6:49

11.Tchoukar Wago – 2:37.

Andre Ceccarelli: drums

Bireli Lagrene: guitar

Joey DeFrancesco: Hammond organ.

By
DEAN CHRISTESEN,
Andre Ceccarelli Trio: Avenue des Diables Blues

The French can swing hard. Let Andre Ceccarelli's 2005 release Avenue des Diables Blues be evidence of this. Frenchmen drummer Ceccarelli and guitarist Bireli Lagrene along with Joey DeFrancesco on Hammond organ display fine technique and wisely executed playing all throughout this Parisian release.

"Nardis" leads off with a bang and wandering time before snapping into the melody. The band explores different feels as they feel appropriate, which becomes somewhat of a theme for the whole album. Nothing feels out-of-bounds for the trio as they slip comfortably into double-times and loose Afro-Cuban grooves.

DeFrancesco gives his tribute to one of his biggest influences, Jimmy Smith, with his unadulterated yet imaginative take on "Summertime." Ceccarelli maintains a nice foundation with brushes, but his switch to sticks brings out a new fire in Lagrene's solo. The tune shuffles right into the organ solo, in which DeFrancesco draws obvious inspiration from Smith while still pulling from his own unique vocabulary.

While Ceccarelli sounds great at all times on the record, the lack of solo time is noticeable. He shines on one chorus in "Nardis" and a sub-2 minute solo entitled "Prelude." The listener is sometimes even teased with what seems like the beginning of a feature for the drummer but quickly fades into a band mate's solo. Nonetheless, the time he does have to speak is filled with thoughtful phrases, technically impressive rhythmic motives, and clear emotional presence. It is on the bright closer, "The Song Is You," that he trades solos with the band and sounds his best, fusing flashes of hand speed with palette-cleansing moments of slower rhythms and cymbals.

Beautiful presentations of Norah Jones' "Sunrise" and Jaco Pastorious' "3 Views of a Secret" join the program of standards and a lone Ceccarelli original, "Avenue des Diables Blues" (co-written by Eric Legnini).

The album feels like a live set at a club, showcasing a steamy performance by three men with a lot to say. Unfortunately, the energy of what might be a three-hour set is compressed into 57 minutes, which at some times leads to overwhelmingly busy solos. Regardless, the way the trio responds to each other's high level of energy is very impressive.

3rd Coast Jazz Orchestra - Unknown Soldiers (2001)

01.Trane of Thoughts [0:08:20.52]

02.Mother Nature [0:12:32.41]

03.Donna Lee [0:05:22.31]

04.Unknown Soldiers [0:08:35.66]

05.Out on a Limb [0:08:06.74]

06.At This Point in Time [0:07:41.63]

07.Boundaries [0:10:18.10]

08.Chasing after Dreams [0:06:52.24]

09.Newk Meets the President [0:06:09.22]

Greg Wilson, Steven Vague (soprano & alto saxophones, flute)

John Mills, Elias Haslanger (tenor saxophone, flute, clarinet)

Paul White (tenor saxophone, flute)

Tony Campise (baritone saxophone)

Paul Baker (baritone saxophone, bass clarinet)

Eric Johnson, Pat Murray, Bob Meyer, Keith Winking, Paul Armstrong, Chip Crotts (trumpet, flugelhorn)

Max Lyon, Randy Zimmerman, Ken Hoyne, Mike Mordecal (trombone)

Steven Snyder (piano, syntesizers)

Russell Scanlon, Mitch Watkins (guitar)

John Fremgen, Kerry Williams (bass)

Mike Koenning (drums, percussion)

Scott Laningham (drums)

Andy Murphy (percussion).

Rick Lawn assembled a stellar cast of the finest musicians in Austin, Texas to present a 74 minute set of his original compositions and arrangements for jazz orchestra. Soloists featured include among others ex-Stan Kenton saxophonist Tony Campise, trumpeter Bob Meyer, Enja recording artist Mitch Watkins, View Point recording artist John Fremgen and Elias Haslanger, formerly with Maynard Ferguson.This recording features the "straight ahead" version of the same arrangement of "Donna Lee" included on Bobby Sanabria's double Grammy nominated live recording Live and in Clave on the Arabesque label.

Eddy Palermo & Roberto Menescal – Bossa Jam (2007)

01.O Barquinho

02.Batida Diferente

03.So Danco Samba

04.Agarradinhos

05.P’ruze

06.Samba Da Creuza‎

07.Preciso Aprender A Ser So

08.Vagamente

09.Samba De Verao

10.Eu Sei Que Vou Te Amar

11.Wave

12.A Ra

13.Bye Bye Brasil.

Eddy Palermo : Guitar

Roberto Menescal : Violדo

Adriano Souza : Piano

Adriano Giffoni : Bass

Joao Cortez : drums.

Tony Perez - From Enchantment And Timba... To Full Force (2001)

Picadillo 8:23

Encanto 5:53

Analógico 6:15

Jazzy 3:03

A La Antigua 5:25

Ninon 4:28

La Diferencia 5:23

La Danza 7:26

Mi China 5:44

A Puerto Padre Me Voy 8:25

Kay' Nah 3:01

Tony Pérez Piano

Braulio Fernández Bass

Coky Garcia Drums and timbales

Miguel Valdés Percussion and bongos

Mario Felix Hernández "El Indio" Trumpet

Alexander Brown Trumpet

Reynaldo Pérez "El Bola" Flute

Alfred Thompson Tenor sax

Emilio Suarez Martinez Vocals

Alberto Bermudez Vocals.

Tony Perez is a 28-year-old pianist from Sancti Sp¡ritus, Cuba, who was handpicked by Chucho Valdes in 1998 to lead Irakere when the founder retired from the group. On Perez's second solo album, From Enchantment and Timba...to Full Force Jazz, navigates a picturesque voyage through many styles of Latin and jazz music.

Truly the enchantments of this CD are Perez's impeccable Latin-piano chops and well-tempered jazz harmonies with a classical edge. A rendition of Tito Puente's "Picadillo" opens the CD and it shows Perez can montuno with the best of them. Perez's "Encanto" follows with a solo piano minuet introduction that exhibits the influential imprints of Chucho Valdes and Emiliano Salvador.

The timba part of the CD is the vibration of Perez's generation. Timba is a dance music evolved by Jose Luis Cortes y NG La Banda that fuses the songo beat innovations of Juan Formell y los Van Van with American Funk and hip-hop. Willie Colon's "Jazzy" burns with timba's frantic energy and the horn-driven ensemble stamp of Irakere.

The full-force jazz aspect of the CD is what Perez is creating whenever he touches the keys and displays his improvisational virtuosity. From marvels with twisting arrangements like "La Diferencia" and "A Puerto Padre Me Voy" to his ragtime-inspired "A la Antigua," Perez is a talented captain steering through some of the freshest jazz waters in the Caribbean.

Sammy Figueroa...And Sammy Walked In (2005)

01.Syncopa O No

02.Niko's Dream

03.Bebe

04.And Sammy Walked In

05.Eugenology

06.Mirage

07.Bolivia

08.Swimming Gaia

09.Mambo Influenciádo

10.Duermete Mi Cielito.

Sammy Figueroa (vocals, congas, percussion, sound effects)

Sammy Figueroa,Nicky Orta (bass instrument)

Gotz Kujack (drums)

John Michalak (flute, saxophone)

Tyler Kuebler (saxophone)

John Lovell (trumpet, flugelhorn, percussion)

Michael Orta (piano, keyboards).

Conguero/percussionist Sammy Figueroa heads a sextet on this date that sounds like a Latinized version of Art Blakey's Jazz Messengers. The music is essentially hard bop, featuring solos from trumpeter John Lovell, saxophonist John Michalak (who is replaced by Tyler Kuebler on two of the ten selections), and pianist Michael Orta. Of the lesser-known material, the "I Got Rhythm"-based "Eugenology" is most memorable and the other highlights include Cedar Walton's "Bolivia" and Chucho Valdés' "Mambo Influenciádo." The final number, "Duermeté Mi Cielito," features Figueroa unaccompanied, singing and playing percussion. Hopefully Sammy Figueroa will be able to keep this accessible and swinging group together for many years, keeping alive the traditions of both Art Blakey and Tito Puente. ~ Scott Yanow.

Liner Note Author: Sammy Figueroa.

Recording information: Afterhours Music, Miami, FL; Outline Studios, Miami, FL.

Arrangers: Tyler Kuebler; Carlos Averhoff; Brian Murphy.

Ray Mantilla Space Station - Hands Of Fire (1984)

01.Ode to Vivian

02.Gourdo Lobo

03.Six for Kim

04.Mariposa

05.En Nos Otros

06.Mantilla's Blues

07.Carajillo con Mantilla.

Ray Mantilla (percussion)

Dick Oatts (flute, saxophone)

Eddie Martinez (piano)

Joe Chambers (vibraphone, drums)

Steve Berrios (drums, percussion).

Recording information: New York, NY (01/09/1984).

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

Recording information: New York, NY (01/09/1984).

Roy Hargrove - Family (1995)

01.Velera

02.Roy Allan

03.Brian's Bounce

04.The Nearness Of You

05.Lament For Love

06.Another Level

07.A Dream Of You

08.Pas De Trois

09.Polka Dots and Moonbeams

10.The Challenge

11.Ethiopia

12.Nostalgia

13.Thirteenth Floor

14.Firm Roots

15.The Trial.

Ron Blake Tenor Saxophone, Soprano Saxophone | (1-4, 6, 12, 14, 15)

Stephen Scott Piano | (4, 6-7, 10, 12-15)

Rodney Whitaker Bass | (1-4, 6, 10, 12-15)

Gregory Hutchinson Drums | (1-3, 6-7, 12, 15)

Wynton Marsalis Trumpet | (12)

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 - For Joe (2000)

01.Falling In Love With Love

02.For Django

03.Poinciana

04.Pass Presence

05.The Big Easy

06.In Your Own Sweet Way

07.Peace

08.I'll Pass

09.Waltz

10.Tino's Blues

11.Voluntary Simplicity

12.I'll Know.

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.

Nguyen Le - Miracles (1990)

01.Miracles (8'04)

02.Question Mark (7'24)

03.Willow (3'42)

04.The Odd Game (3'01)

05.Saari (6'47)

06.20 Fingers (5'37)

07.Cerf Volant (1'40)

08.Miss One (7'28)

09.Pacha (6'25)

10.Haiku (2'31)

11.Eyeland (4'13).

Nguyên Lê:electric and acoustic guitars

Danh Tranh, programming

Art Lande: piano

Marc Johnson: bass

Peter Erskine: drums, percussion.

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.

The Don Rendell & Ian Carr Quintet - Change Is (1969)

01.Elastic Dream

02.One Green Eye

03.Boy, Dog And Carrot

04.Cold Mountain

05.Black Hair

06.Mirage.

Bass - Dave Green,Jeff Clyne

Saxophone [Tenor,Soprano],Flute - Don Rendell

Trumpet, Flugelhorn - Ian Carr

Drums - Trevor Tomkins

Piano - Mike Pyne (tracks:02)

Piano,Harpsichord - Michael Garrick

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.

Mahavishnu Orchestra - Visions of the Emerald Beyond (1975)

Eternity's Breath Part 1

Eternity's Breath Part 2

Lila's Dance

Can't Stand Your Funk

Pastoral

Faith

Cosmic Strut

If I Could See

Be Happy

Earth Ship

Pegasus

Opus

On The Way Home To Earth.

John McLaughlin: guitar, vocals

Jean-Luc Ponty: violin

Michael Walden-: drums, vocals

Ralphe Armstrong: bass, vocals

Gayle Moran: keyboards, vocals

Bob Knapp: trumpet, vocals

Russel Tubbs: sax

Steven Kindler: violin

Carol Shive: viola, vocals

Phillip Hirschi: cello.

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.

Mahavishnu Orchestra - Birds Of Fire (1973)

01.Birds of Fire (5:41)

02.Miles Beyond (Miles Davis) (4:39)

03.Celestial Terrestrial Commuters (2:53)

04.Sapphire Bullets of Pure Love (0:22)

05.Thousand Island Park (3:19)

06.Hope (1:55)

07.One Word (9:54)

08.Sanctuary (5:01)

09.Open Country Joy (3:52)

10.Resolution (2:08).

John McLaughlin (guitars)

Jan Hammer (keyboards)

Billy Cobham(percussion)

Jerry Goodman (violin)

Rick Laird (bass).

By
ALAN BROOKS,

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.

Mahavishnu Orchestra - Between Nothingness and Eternity (1973)

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.

Mahavishnu Orchestra - Apocalypse (1974)

Power of Love

Vision is a Naked Sword

Smile of the Beyond

Wings of Karma

Hymn to Him.

John McLaughlin- guitar

Jean-Luc Ponty- violin

Gayle Moran- keyboards and vocals

Michael Tilson Thomas- Conductor and piano

Marsha Westbrook- viola

Carol Shive- violin, vocals

Philip Hirschi- cello, vocals

Michael Walden- drums

Ralphe Armstrong- bass, vocals

London Symphony Orchestra.

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.

Steve Howe - Natural Timbre (2001)

01.Distant Seas (6:14)

02.Provence (4:00)

03.Intersection Blues (2:28)

04.Family Tree (4:29)

05.J's Theme (3:52)

06.In the Course of the Day (3:32)

07.Dream River (3:58)

08.Golden Years (4:35)

09.The Little Galliard (1:22)

10.Up Above Somewhere (3:56)

11.Curls and Swirls (2:33)

12.Pyramidology (3:06)

13.Lost for Words (3:34)

14.Winter (Vivladi) (2:16)

15.Solar Winds (3:53)

16.Your Move (3:27)

17.Disillusion (1:41)

18.To Be Over (6:13).

Steve Howe - guitar (acoustic), banjo, bass, dobro, guitar, mandolin, percussion, autoharp, guitar (bass), guitar (12 String), koto, mandola, mandocello, Hawaiian Lap Steel guitar

Andrew Jackman / piano, Glockenspiel

Anna Palm - violin

Dylan Howe - drums.

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

Hilton Ruiz - The Collected Hilton Ruiz (1999)

01.West Side Blues 6:43

02.El Camino (The Road) 6:19

03.The Sidewinder 6:17

04.Goin' Back to New Orleans 10:44

05.Doin' It Right 6:16

06.Slip Slidin' Blues 3:37

07.Scottish Blues 5:43

08.Cuchi Cuchi 5:37

09.A Moment's Notice 8:53.

Robby Ameen - Drums

Steve Berrios - Percussion, Timbales

Don Cherry - Trumpet

George Coleman - Sax (Tenor)

Kenny Garrett - Sax (Alto)

Andy Gonzales - Bass

Dick Griffin - Trombone

Rodney Jones - Guitar

Daniel Ponce - Bongos, Conga

Sam Rivers - Sax (Soprano), Sax (Tenor)

Ruben Rodriquez - Bass

Jimmy Rowser - Bass

Hilton Ruiz - Piano

Mongo Santamaría - Conga

Joe Santiago - Bass

Lew Soloff -Trumpet

Dave Valentin - Flute.

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.

Hilton Ruiz - “Steppin’With T.P.”(Tributo a Tito Puente) (2005)

01.Cruizin whith Royal T.

02.Sanctiified Feeling

03.Jumping with Symphony sid

04.Newe Arrival

05.Peace

06.Ceora

07.Steppin with T.P.

08.East Coast Mambo

09.Mambo para Puente

10.New Arribal II.

Hilton Ruiz (Piano)

Yomo Toro (cuatro Guitar)

Dave Valentin (Flute)

Jay Hoggard (vibes)

Leon Dorsey (bass)

Geoff Brennen (bass)

Chembo Corniel (percusssion)

Willie MArtinez (drums).

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.